Alice Cooper – Welcome To My Nightmare (Album Review)

There are classics and then there is Welcome To My Nightmare. Going solo, after the official disbandment of the Alice Cooper Band, Cooper would return with a debut solo album that not only built upon his previous successes but also took his musicality to new and unexpected heights. While it was familiar, yet different, Welcome To My Nightmare delves into the dark and twisted recesses of Cooper's imagination, taking listeners on a journey through the nightmares of a troubled mind. As far as concept albums go, this is amongst the greatest and stands as a cornerstone in the history of rock music.

While one of the most appealing aspects of Welcome To My Nightmare is its story-driven approach, you need not worry if you’re not interested in that style of album for I’m sure Steven, the album’s protagonist, won’t mind as the songs are exceptional in their own right. From the haunting opening track, to the chilling finale, this album immerses listeners in a theatrically surreal world filled with macabre imagery and unsettling melodies that will leave a lasting impression for it is nothing short of a musical masterpiece.

Being a master storyteller is but one part of Cooper’s musical skill, for his ability to deliver emotive vocals, alongside poignant lyrics, is profound and elevates his music to another level entirely. Welcome To My Nightmare, along with so many of Cooper’s solo albums, pushed the boundaries of what was possible with music and the album format and while we’ll take a look at the songs that make up this incredible release, I dare say that it is best heard in its linear structure for it’s a textbook example of how to write, record, and release a concept album.

While the music is one aspect, the record's iconic cover art perfectly encapsulates the album's theatrical spectacle. Drew Struzan’s illustrations pop off the canvas and as much as it can be appreciated on the smaller screen of a smartphone, this is an album cover worthy of vinyl ownership. Speaking of which, I’ve been fortunate to own the 2018 Limited Purple Vinyl Edition; a visually stunning and thoroughly enjoyable reissue with a relatively low noise floor and a rich dynamically charged sound stage that has plenty of clarity, oomph, and analogue warmth to captivate most music lovers. However, is it the final word in sonic quality for this classic album? That is, naturally, subjective and while I’m aware of the Analogue Productions reissue and respect what Chad Kassem and his team do with their remasters, as I own quite a few, I am growing weary of 45rpm releases.

Granted, I acknowledge that the entire Atlantic 75 Audiophile Series is being delivered exclusively on 45rpm 180-gram heavyweight vinyl, as well as Hybrid SACD releases, but with an album such as this one, the flow naturally suffers from being placed across four sides rather than two. For instance, Years Ago flows nicely into Steven but these songs are separated on Sides 3 and 4. Perhaps I’m being pedantic as I can see how a separation here would be appropriate, but after so many years of hearing this album in its original sequencing, I fear it would detract from the flow of the album.

Additionally, I strongly believe that if a mastering job is done properly, the benefits are also noticeable when released at 33rpm. For instance, as incredible as the Analogue Productions edition of Aaron Neville’s Warm Your Heart is at 45rpm, the Acoustic Sounds Series (also supervised by Chad Kassem) of Nina Simone’s I Put A Spell On You at 33.3rpm is every bit the aforementioned contemporary, once the recordings differences are taken into account, and it’s simply extraordinary.

Given all the praise I’ve seen directed at the Atlantic 75 Audiophile Series reissue, I really should pick up a copy, but it still amazes me that these releases are exclusive and limited. If they are the very best that these albums have ever sounded, and I have no reason (based on my own experience) to suggest otherwise, then why don’t they become the definitive standard henceforth; on every format, future release, and digital delivery platform? I don’t know about you, dear reader, but I feel it’s gatekeeping at its finest and unnecessarily feeds the FOMO attitude that is prevalent within music-collecting circles.

Turning our attention to the lossless Apple Music stream and what we’re presented with is the same mastering as that available on the standard CD counterpart. It’s a solid facsimile, with adequate dynamics and detail, but it’s also a little underwhelming and brittle, particularly in the treble range. Yes, EQ settings can address some of these shortcomings, but if a better master were available, such as the most recent reissue, we wouldn’t need to make these accommodations.

Welcome To My Nightmare serves as an ideal ominous introduction to the album’s central theme with eerie effects and haunting vocals. It’s surreal and is one of those songs that builds masterfully as it progresses. Additionally, the soundstage is immersive and by the time the brass instrumentation enters the mix, you’ll be in sonic heaven. Welcome To My Nightmare is, subsequently, a killer 70s tune, embracing various aspects of funk, jazz, and disco.

Devil’s Food is interesting in its delay to get started following the quiet final moments of Welcome To My Nightmare. It may be a minor aspect, but it’s a technique that I wish was applied more as it allows the senses a moment to reset. Nevertheless, Devil’s Food continues the dark and brooding atmosphere that flourishes when Vincent Price’s role as the curator enters the mix. In many respects, Price’s inclusion shouldn’t work, yet it does and provides an astonishing segue into The Black Widow.

The Black Widow is one of the best songs from the album and perhaps one of the most underrated. With a menacing guitar riff, sinister lyrics, and dramatic delivery, The Black Widow is one of the finest songs from Alice Cooper’s back catalogue.

Some Folks offers a departure from the album’s overall darker musical style by injecting a dose of dark humour with some killer swing, big band, and jazz-inspired elements.

Only Women Bleed is, arguably, Cooper’s greatest musical accomplishment. His emotive vocals and the song’s haunting melody combine to create a powerful ballad that knows few peers.

Department Of Youth aims to be a high-energy anthem that celebrates the rebellious spirit of youth culture, yet it isn’t a standout and I question if the inclusion of The Summerhill Children’s Choir was beneficial or detrimental to my appreciation, or lack thereof, of this tune. Let’s just say that I wouldn’t seek Department Of Youth out, on its own, outside of the concept album structure.

Cold Ethyl is a killer rock tune containing infectious rock riffs and tongue-in-cheek lyrics that create a twisted love song unlike anything else on the album. It’s original, you’ve got to give it that, and Cooper’s theatrical delivery adds a macabre charm to the song’s already gleefully morbid subject matter.   

Years Ago is a perfect interlude-styled haunting ballad that tends to drive anxiety directly into the soul of the listener. Yet, it’s compelling and is one of the best songs from the album.

Steven is one of the record's most ambitious tunes. Not only is the storytelling compelling but every musical aspect is perfectly positioned in the mix. The result is a song that is the sonic equivalent of an Alfred Hitchcock film. It is, without a doubt, one of the greatest Alice Cooper recordings of all time.

The Awakening flows beautifully from Steven and is somewhat of a musical interlude, but it’s a little too short for my liking as I feel it should have been extended. Nevertheless, the atmospheric music and eerie sound effects, merged with Cooper’s extraordinary vocal presentation, ensure that The Awakening is memorable.

Escape is a great closer, but it doesn’t flow as well from The Awakening as the other songs throughout the record have. Yes, there’s a delay between songs, but I’m not sure it’s enough to ignore the shift in style. Despite that aspect, it’s an epic finale that will compel you to play the album again.

Welcome To My Nightmare is not only one of Cooper’s best albums, but it’s one of the greatest records, concept or otherwise, from the 70s; particularly 1975. It really is a triumph of creativity and innovation that pushed the boundaries of the concept album to the very limits of what such a release could achieve. After more than four decades, it remains a timeless classic that continues to captivate and inspire music lovers and Alice Cooper fans alike.

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Alice Cooper – Alice Cooper Goes to Hell (Album Review)

Alice Cooper, the undisputed master of theatrical rock, returned in 1976 with his second solo studio album Alice Cooper Goes To Hell. Following the success of its predecessor Welcome To My Nightmare, this album continued the narrative journey into the macabre and sinister realms of Cooper's imagination. While not as commercially successful as its predecessor, Alice Cooper Goes To Hell is far greater than that 1975 release and stands as a unique and ambitious chapter in Cooper's discography.

Cooper's vocals and witty lyrics draw you into the narrative and the musical arrangements are diverse, blending elements of hard rock, glam, and theatrical pop, along with rock ballads. Via this diversity, Cooper showcases his ability to seamlessly combine different genres while remaining true to himself. With an elaborate production, thanks to Bob Ezrin, Alice Cooper Goes To Hell is more than just an album, it’s a musical experience first and foremost; one that hardcore and casual fans alike shouldn’t turn away from as there are few peers to this incredible release; even from within Cooper’s own celebrated discography.

Visually striking, the album artwork draws you in in a similar manner as all of Cooper’s releases, but as impressive as it is, it would be for nil had the music and sonic presentation of the album been subpar. While not presented as an Apple Digital Master, Warner Records has ensured that Alice Cooper Goes To Hell sounds thoroughly enjoyable. It’s dynamic, immersive, and is probably about as pleasing as this album will ever sound via streaming. To my knowledge, there has never been a thorough remaster for Alice Cooper Goes To Hell and this is a good thing for I’m more than happy with the CD facsimile presented on Apple Music. That said, as a physical media fan, I do have to hunt down one of the respected copies from the Rocktober 2018 reissue series as the releases from that series that I already own are exceptional and take their respective albums to further levels of appreciation. Until then, however, the lossless Apple Music stream is perfect for this Alice Cooper fan.

Go To Hell launches the album with a catchiness that not only sets the tone for the entire record but is 100% Alice Cooper. The upbeat and energetic rock elements, with Cooper's signature theatrical vocals, ensure that Go To Hell is a masterful tune that sounds as fresh today as it would have when first released in the 70s. It’s nothing short of perfection and the closing third of the song, with instrumental elements galore, is a pleasure that must be heard firsthand in order to fully appreciate what an incredible tune this opener is. 

You Gotta Dance is a lively and danceable track with a glam-rock feel that was ideally suited to the era. The catchy rhythm and infectious energy make it a fun addition to the album. While this type of song may cause disagreement amongst fans, I consider it to be one of Cooper’s all-time greatest and I strongly believe that it should have been released as a single for it had the potential to dance its way to the top of the charts. 

I'm The Coolest slows the tempo a little with its swaggering rock vibe. The spoken word lyrical styling is perfectly suited to the musical bed, but it’s the egotistical nature of the lyrics, some very beautiful guitar licks, and the overall mix that ensures I’m The Coolest is amongst the coolest songs (pun intended) that Cooper has ever recorded. 

Didn't We Meet is a bluesy and soulful number that flows perfectly within the album’s sequencing. That said, as much as I adore Alice Cooper Goes To Hell, I have a love/hate relationship with the chorus. Yes, it works but there is some aspect of it that I don’t feel works well with the song’s structure or the overall musical approach to the record. Nevertheless, the album wouldn’t be the same sans Didn’t We Meet but it is, subsequently, a lull in an otherwise perfect album. 

I Never Cry is one of the greatest ballads of all time and is as spectacular as Only Women Bleed from Welcome To My Nightmare. The emotional depth of the lyrics, coupled with a melodic arrangement, ensure that you’ll want to play this tune on repeat for Cooper is, arguably, as good a vocalist on ballads as he is on his other rock-focused tunes, if not more so, for the shock rocker never fails to disappoint on slower numbers.

Give The Kid A Break returns the album to an upbeat tempo by injecting the album with a little rock and roll energy. While it’s an album-only tune, it’s a fantastic song that could have quite as easily come out of the 50s era, yet is perfectly suited to Cooper’s 70s styling. 

Guilty flows seamlessly from Give The Kid A Break and maintains the rock vibe with a catchy chorus and infectious guitar riffs. While not necessarily a standout, exceptional albums are the sum of their parts rather than possessing a killer song or two. It is this aspect that ensures many 70s releases, and most of Alice Cooper’s albums, are worthy of adding to one’s collection for even the filler material is exceptional. 

Wake Me Gently takes us on an atmospheric journey with dreamy instrumentation and ethereal vocals. The song adds a surreal and introspective element to the album and is another of Cooper’s remarkable ballads. 

Wish You Were Here has an eclectic nature to it; an aspect that continues throughout the entire song. It is rock and roll to its core, most certainly a 70s rock masterpiece, and is a song that will encourage you to get your air guitar out. While it would have never worked as a single, Wish You Were Here is amongst Cooper’s greatest recordings, particularly from a musical and mixing perspective for it will envelop you and there isn’t a single element that is unnecessary; despite its busy composition.

I'm Always Chasing Rainbows was an odd, yet perfect choice, for this well-known vaudeville tune is perfectly reinterpreted with Cooper’s theatrical intent that adds a darkness to the nostalgic melody, fitting seamlessly into the album's overarching theme.

Going Home flows seamlessly from I'm Always Chasing Rainbows and, the two, in some respects could have been a singular song. Despite that, Going Home is one of Cooper’s most beautiful songs with orchestral elements and a cinematic quality that will leave you with a sense of closure, contemplation, and compulsion to play the album again.

Each of the 11 songs from Alice Cooper Goes To Hell contributes to the album's narrative cohesiveness, showcasing Cooper's ability to experiment with various musical styles while maintaining a thematic thread throughout the theatrical journey. Granted, it’s Cooper’s trademark, but it is amongst his greatest releases and that’s saying something for with a career spanning six decades and a discography of 29 studio albums under the Alice Cooper banner, numerous records could share the top billing as his very best. Nevertheless, Alice Cooper Goes To Hell is a masterpiece and is not only one of the greatest Alice Cooper releases but one of the best albums ever released in all of recorded music history.

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Alice Cooper – Zipper Catches Skin (Album Review)

Zipper Catches Skin is often regarded as one of the more experimental and unconventional albums in Alice Cooper's extensive discography. Released in 1982, this studio album represents a shift from Cooper's earlier hard rock sound as he further embraced new wave and post-punk influences. It’s also fair to say that it wouldn’t be an Alice Cooper album if it had been a carbon copy of his previous works for one constant aspect of his career, a key aspect to his longevity in the industry, is his ability to pivot and incorporate modern styles with his classic sound.  

To say that Zipper Catches Skin is a complete departure from the theatrical and shock rock elements, that defined Alice Cooper's earlier works, would be erroneous. Yes, this album has a stripped-down rawness to it but the whimsically edgy and lo-fi aesthetic perfectly suits Cooper’s style. In fact, if you’re a fan of the Alice Cooper band's early releases, Pretties For You and Easy Action, you’ll thoroughly enjoy this release as it takes cues from those albums but ups the production quality.  

Given the chosen musical style, one needs to adjust their expectations when listening to Zipper Catches Skin, for it is never going to be the greatest sounding record. While I’m fortunate to own the 2018 vinyl reissue, the difference between that edition and that heard on the lossless Apple Music stream is small and can be mainly attributed to the smoother (warm) sound of the vinyl format. As a result, I find the Apple Music stream, a CD facsimile, to be more than adequate and given the 32-minute runtime, it means that I don’t have to get up and flip the album after approximately 15 minutes. Yes, it’s a first-world problem, but streaming is so good these days that the vinyl counterpart has to offer an appreciable difference over the stream and in this case, the delta just isn't great enough to warrant the additional ritual.

What is, undoubtedly, more appealing regarding the vinyl reissue is the album's artwork. The minuscule cover art, via streaming, simply doesn’t present the album artwork adequately. You can barely see Alice Cooper’s name in red, at the top of the artwork, and the lyrics that are present on the album cover are unreadable on the small screen. You can’t even make out the album title located above the blood stain. While I’m a proponent of streaming music, some aspects simply can’t be replicated by modern technologies and will forever be lost to time. Album artwork is one such element that used to be essential and while I acknowledge that is no longer the case, for those of us who appreciate the intricate nature of album artwork, it’s these small details that allow the album to exist beyond the audible spectrum and become a trinket forever ensconced in our memories. 

Zorro's Ascent kicks off the album with an energetic and quirky vibe that sets the tone for the music that is to follow with catchy hooks and an experimental sense of mystique. 

Make That Money (Scrooge's Song) is a perfect satirical statement on greed and capitalism. The upbeat tempo and electronic elements contribute to its energetic and electronically synthesised atmosphere. More than that, however, it’s a killer tune and is one of the best songs from Zipper Catches Skin. I’d even go as far as saying that it is one of the best songs Alice Cooper has ever recorded and one that you’ve likely never heard before; that is unless you’re already familiar with this album.

I Am The Future leans into new wave influences on a song that is most certainly cemented in the 80s for that musical style is unmistakably associated with the era. As a solid album-only tune, I Am The Future is thoroughly enjoyable, but it is unlikely that you’ll feel compelled to seek it out, outside of the album’s linear structure. 

No Baloney Homosapiens is a fantastic tune. Everything from the elemental opening, to the driving rhythm, and Cooper’s vocal delivery ensures that once the chorus enters the mix, the wittiness of the lyrics is a highlight. That said, the sound effects throughout, particularly in the middle of the song, take away from the song itself. It’s a shame as the inclusion ultimately results in a distractive element in an otherwise exceptional tune. 

Adaptable (Anything For You) introduces a more melodic style to the album, with a memorable chorus attached to a pop-influenced sound. It’s a great tune! 

I Like Girls flows seamlessly from Adaptable (Anything For You), but it’s the bouncy rhythm that’s the highlight here as its catchy nature furthers the sense of fun that is the undercurrent of the entire album. What a great song!

Remarkably Insincere, as with I Like Girls, offers a seamless transition that is punk-inspired with straightforward instrumentation that will have you rocking along every time you play the album. 

Tag, You're It has a killer opening that is fast-paced with a rebellious energy. It is, however, the rhythmic drive that will reach into your soul and compel you to move involuntarily to the beat. That said, the only component that I find to be somewhat annoying is Cooper’s spoken word element. Yes, I get the intent to further explore Cooper’s psychotic personas, but I feel it would have been a stronger song sans those inclusions. 

I Better Be Good has a straightforward punk-rock feel; sometimes that is all that’s required for a song to be noteworthy. 

I'm Alive (That Was The Day My Dead Pet Returned To Save My Life) serves as a fitting conclusion to the album, leaving listeners with a sense of the unexpected. There are only a few musicians capable of recording such a tongue-in-cheek song that can also be taken seriously. Ultimately, it’s a killer tune and a fantastic closer that leaves you wanting more.

While Zipper Catches Skin was not as well-received as some of Alice Cooper's earlier albums, it has gained a cult following over the years, due to its experimental nature and departure from the artist's more traditional sound. Of course, Cooper’s addictions had an impact on this release but the unique and unconventional styling has long been a Cooper trademark that fans, such as you and I, thoroughly enjoy. Subsequently, Zipper Catches Skin is an unintended masterpiece that only gets better with age and the more frequently it is played.

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Alice Cooper – Lace And Whiskey (Album Review)

Released in 1977, Lace And Whiskey is Alice Cooper's tenth (third solo) studio album. Following his previous landmark solo works, Welcome to My Nightmare and Alice Cooper Goes To Hell, Cooper continued to explore theatrical and conceptual approaches to his music. While Lace And Whiskey may not have achieved the same level of commercial success as its predecessors, it offers a unique blend of rock, with influences from the 40s and 50s, and a theatricality that showcases Cooper's versatility as an artist. 

For the physical music collectors amongst us, Lace And Whiskey may not be the most elaborately designed vinyl release of the 70s, but it’s extremely compelling. The 2018 vinyl Rocktober reissue, which I’m fortunate to own, is a lovely replica, albeit with modern elements such as a barcode and in place of black vinyl, you’ll get a magnificent whiskey brown-coloured vinyl record that looks as good as it sounds. The result is that these design choices further captivate the mind and draw you into the album experience. 

Sonically, while it may not be quite as remarkable as Dada, it’s not too far behind and is a considerable improvement over its digital counterpart. That isn’t to suggest that the lossless Apple Music stream isn’t enjoyable, for it’s a solid facsimile that is clean and detailed. It is, however, the vinyl distortion (warmth) that adds to the sonic smoothness of the album. Nevertheless, I can’t take the record with me everywhere and for those moments the stream is more than adequate; although I usually need to adjust the EQ slightly, particularly in the low to mid-range, to get the stream sounding as good as it possibly can.  

Of course, if you wish to keep your sanity in check, your aim should be to never compare the two as I have done. With that in mind, let’s just say that if you have no interest in vinyl, you won’t feel disadvantaged for Lace And Whiskey sounds more than acceptable via the Apple Music stream. It would be nice, however, if Cooper’s back catalogue was given the white glove treatment across the board for the lossless Apple Music stream is nothing more than the CD counterpart as Warner has yet to go back to the master tapes and deliver a higher resolution version. 

It's Hot Tonight kicks the album off with a song that can only be described as a rock classic; had it been more widely accepted, of course. Although, the Beastie Boys did sample the tune on their second album, Paul’s Boutique, on the song What Comes Around. I’ve no doubt my following statement will irritate Beastie Boys' fans but as it pertains to What Comes Around, the best thing about that song is Cooper’s sample.

Lace And Whiskey is a thoroughly enjoyable title track that has a bluesy rock swagger that is not only compelling but works seamlessly with Cooper’s vocal presentation. 

Road Rats is a high-energy gritty garage rocker. It’s one of Cooper’s most overlooked masterpieces but it is with hope that it will no longer be cast aside for it was reworked for his 2023 release Road; featuring a heavier rock sound that works perfectly for the song.

Damned If You Do is another of the album’s highlights for it is immediately appealing with its catchy melody and infectious chorus. Yes, it’s a little campy, but if you consider it as part of a concept album, that leans into the music of yesteryear, then it makes perfect sense with its country twang and rockabilly styling.

You And Me is a masterpiece! Cooper may be commonly referred to as a shock rocker, but his ballads are impeccable and, in many cases, best that of his broadly accepted rock persona. Either way, You And Me is soft rock at its very best.

King Of The Silver Screen is sensational and is musical storytelling at its very best. The theatrical and cinematic elements of the song play into the tune and while some may consider these aspects to be cliché, I consider the mix to be the very definition of perfection. Additionally, there are some killer guitar licks to be heard on this tune that will light up your stereo. Incredible!

Ubangi Stomp is a lively rockabilly number. It’s fun and energetic, but one has to question if it was ideally suited to the record as it’s quite a shift from the rest of the tunes. As such, it’s the weakest song from the album, but that doesn’t stop me from enjoying it when I play the record.

(No More) Love At Your Convenience is a touch of pop with a dash of soft rock and a dollop of disco. It works!

I Never Wrote Those Songs is another of Cooper’s masterful ballads that is simply gorgeous. Only Cooper could have recorded such a wonderful tune for even Barry Manilow couldn’t match Cooper’s performance here. The band is on fire, the mix is perfect, and it is one of the greatest ballads ever recorded, by anyone. 

My God starts as if it were a tune for British Royalty. While that can be a distraction, the song doesn’t maintain the cathedral focus for long as the song quickly comes into its own grandiose musical moment that is perfectly aligned with Cooper’s overarching style. Subsequently, it’s a great closer that encourages you to contemplate the music you’ve just heard while also compelling you to play the album again. 

Lace And Whiskey may not be amongst Cooper's most celebrated works, but it offers a diverse range of songs that demonstrate his artistic versatility and is a personal favourite of mine. From hard-hitting rock numbers to heartfelt ballads, Cooper's ability to convey emotion and tell stories through his music never ceases to amaze. Lace And Whiskey is, subsequently, a worthwhile addition to any Alice Cooper fan's collection and if you’ve previously overlooked this masterpiece, may I suggest you give it another chance for it's one of the best albums released in 1977. 

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Alice Cooper – Constrictor (Album Review)

Released in 1986, Constrictor was Alice Cooper’s first album in three years since the release of the masterpiece that is DaDa. Although, Cooper would likely contest that declaration as part of the reason for the break between album cycles was to deal with his addictions; some of which nearly consumed the shock rocker and influenced his prior releases. Subsequently, Constrictor is a very different album to Cooper’s “blackout” releases (Special Forces [1981], Zipper Catches Skin [1982], and Dada [1983]) as it’s less artsy, thereby returning Cooper’s style to a more traditional hard-hitting rock album with radio-friendly tunes. That aspect alone shouldn’t deter fans, or newcomers, for his artistry has always been diverse, but Constrictor can be seen as a significant turning point in his career; a shift that would ultimately send him back to the top of the charts a few years later with Trash.

Visually, it’s one of Cooper’s more comical album covers and the snake still looks fake. That’s a good thing for it’s not only indicative of the era but also showcases Cooper’s more light-hearted persona. While I’ve yet to own a copy on vinyl, Constrictor is one album that needs a reissue on the format as the larger album artwork would look incredible amongst his other albums. 

On the topic of sonic quality, however, Constrictor is in desperate need of a remaster. It’s 80s rock, raw ,and hollow sounding, resulting in a little too much treble and not enough mid to low-end oomph. Some may suggest that it is perfect the way it is as many classic 80s rock albums have a thinner sound, but I find that I have to apply some EQ to get Constrictor to sound half decent. Granted, it’s not the end of the world, but it would be nice to hear what the master recording sounds like for the CD quality stream is merely adequate. 

Teenage Frankenstein kicks things off with a thunderous roar. Cooper’s distinctive snarl combined with the gritty guitar riffs and a rock-solid rhythm perfectly captures the spirit of the album. 

Give It Up has an infectious chorus and catchy hooks, but it’s the memorable pop-rock styling that is most notable. 

Thrill My Gorilla is an incredible tune. The soaring guitars with a playful tongue-in-cheek lyrical perspective ensure that Cooper’s combination of humour and shock rock remains at the forefront of the music.

Life And Death Of The Party slows the tempo, but it’s one of the greatest songs on the album and is a hidden gem in Cooper’s back catalogue. Additionally, that solo is what air guitar dreams are made of. Brilliant!

Simple Disobedience with its infectious hooks and drilling rhythm injects a dose of energy into the record. It’s one of those songs that has rarely been heard outside of the album and it’s a shame for Simple Disobedience is a stadium-filling tune. 

The World Needs Guts has a driving rhythm, anthemic chorus, and powerful guitar solos that create an empowering atmosphere that encourages listeners to face life's challenges head-on. I love it!

Trick Bag may channel the spirit of classic rock 'n' roll with a bluesy undertone and groovy rhythm, but it isn’t the strongest song on the album. While the musicality is solid, there’s too much vocal processing that makes Cooper sound as if he’s singing in a silo. 

Crawlin’ is a dark and brooding track with haunting guitars and eerie synths. Cooper's vocal delivery adds a touch of menace but it’s the song's heaviness that ultimately makes it a standout tune on Constrictor.

The Great American Success Story has a catchy melody and is a solid tune, but it’s too campy in the chorus to be notable.

He's Back (The Man Behind the Mask) embodies the essence of '80s glam metal with its driving guitars, synthetic elements, and anthemic chorus. As it was recorded for the Motion Picture, Friday the 13th Part VI: Jason Lives, it perfectly captures the dark and mysterious allure of the film. Yet, it also provides listeners with a perfect album closer; one that allows for reflection as well as encouragement to spin the album again. 

Overall, Constrictor showcases Cooper's ability to adapt to a changing musical landscape while maintaining his signature style. The album strikes a balance between catchy radio-friendly tunes and darker introspective moments. While it may not be considered one of his greatest releases, Constrictor is severely underrated and is a thoroughly enjoyable album that captures a pivotal moment in Cooper’s career.

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Alice Cooper – From The Inside (Album Review)

There are concept albums, and then there are Alice Cooper concept albums. Other than The Who, I can’t think of another artist that is Cooper’s peer with regard to his superior capability of telling stories through music. Naturally, I’m being obtuse for the list of concept albums and artists that have explored this idea is extensive, to say the least. I could list all the best ones, but this is an Alice Cooper review and such a list would be better suited to the Ranked area of Subjective Sounds; a place where From The Inside will reside as one of the best albums released in 1978.

From The Inside tells a series of interconnected stories from Cooper’s time in the Cornell Medical Center, a sanitarium that would ultimately help him break the chains of substance abuse. It gives those of us an insight into the inner workings of such a place and in particular the people that co-inhabit the space and their associated psychologies. Of course, Cooper’s story couldn’t have been told as eloquently without the inclusion of the great Bernie Taupin and while there are other notable writers collaborating on these songs, From The Inside is very much a Cooper and Taupin collaboration. In fact, From The Inside could almost be classed as an album whereby Alice Cooper meets Elton John for Davey Johnson plays lead guitar throughout while Dee Murray plays bass on the title track. Even Kiki Dee is involved as a backing vocalist.

Looking through the liner notes, you’ll come across a who’s who of the music industry at the time for there are some heavy hitters involved in the production of From The Inside and it’s, therefore, no surprise that this album has endured throughout the decades. Is it Alice Cooper’s greatest album? No, but it’s up there! While this review will largely focus on the lossless Apple Music stream, I want to bring your attention to the physical counterpart before we look at the music itself.

The 70s was potentially the greatest time for physical media, as it pertains to album artwork, for the designs, from various artists, are simply incredible. From The Inside visually took you within the asylum as the vinyl cover opened out from the centre, gatefold style, as if the doors were opening up and we were going into Cooper’s psychotic mind, thereby living virtually through his experiences. However, many of the reissues have lacked the hidden flaps, thereby limiting the impressive, almost origami-styled, design of the original pressings. Nevertheless, the design elements are utterly incredible and there isn’t a streaming platform on earth that can compete with that. 

While Music On Vinyl (MOV) would reissue the album in 2014, partially replicating the original artwork, I never really connected to the mastering of that particular reissue. The artwork, however, was impressive. It didn’t replicate everything perfectly, but what it did do was enough to please the modern music collector who didn’t wish to track down original pressings. Nevertheless, for this music lover, the music still comes first and if I’m not going to play the record, because of the sonics, I would prefer to sell it and let someone else enjoy it for we all appreciate music differently. 

The pressing itself was flat, with a low noise floor, but I found it lacked emotion. In fact, I found more sonic pleasure was achievable from the lossless streaming counterpart; a CD equivalent. While a few adjustments to the EQ dial were able to bring some life back into the presentation, it just never quite sounded right. Granted, Music On Vinyl reproduces their records from high-resolution digital sources, rather than analogue masters, but I have plenty of their releases that are warm and enveloping. It’s on a case-by-case basis, obviously, but in this particular instance, it just didn’t work for me. That said, I’ve no doubt there will be plenty of fans who will be happy with the clean and crisp reproduction.

For those of you that enjoy the CD format, most editions have been released sans the intricate and expansive artwork, but Warner Bros. Records in Japan released a mini-LP replica in 2012 that included some of the gatefold goodness. The smaller canvas, naturally, makes it a little more difficult to reproduce on mass and, unfortunately, it’s no longer available and fetches a pretty penny on the secondhand market but if you can get it for the right price, it would be a perfect addition to any Alice Cooper collection. Similarly, The Studio Albums 1969-1983 box set, released in 2015, replicates the artwork nicely, even if not completely, but has also been out-of-print for a while thereby making it difficult to come by. Either way, the artwork is done so well that you should try to track down a physical release if you’re a fan of this classic Alice Cooper album. 

While I’ve discussed the sonic reproduction of the vinyl reissue, the lossless Apple Music stream is respectable. You may find that you need to boost the mid and low end a smidgen, but it retains the emotion that I feel was missing from the vinyl reissue. Is it the final word in sound quality? No, but it will suffice until a high-quality remaster is undertaken and if one is never done, I could listen to the stream, without issue, indefinitely.

Moving on to the music, while many who adore concept albums may be looking for a detailed analysis of each and every tune, here at Subjective Sounds the focus is on the music, and the emotion it evokes, more so than the lyrical interpretation. No doubt countless others have explored the lyrical greatness of From The Inside in great detail; a Google search will likely point you in the right direction.

From The Inside is a solid opener. Davey Johnson’s addictive guitar licks are of particular note and while not an immediate hit, this is one tune that will most certainly grow on you.

Wish I Were Born In Beverly Hills kicks things up a notch. It’s got a classic Cooper band feel to it with a modern twist, for the era, but you’ll also hear a little Saturday Night’s Alright For Fighting influence; not that that’s a bad thing. Wish I Were Born In Beverly Hills is classic rock 101; no bells, no whistles, just a rocking tune.

The Quiet Room is where I truly feel From The Inside begins. It is the more mellowed approach that I appreciate and while the first two songs needed to be a little more rocking, The Quiet Room is simply stunning and showcases Cooper as more than just a shock rocker for his vocal is extraordinary. While I could point to numerous songs, The Quiet Room is one that truly highlights Cooper’s vocal prowess and is, in my opinion, one of his greatest recordings. The musicality is also second to none with a mix that is a musical wonderland for each time you listen, you’ll hear different audible elements; pure magic! 

Nurse Rozetta is head-bopping toe-tapping gold and its tempo shifts are the key to its success; an exceptional tune by any standards. 

Millie And Billie flows beautifully from Nurse Rozetta and while not billed as a duet, Marcy Levy’s duet-styled vocals are magnificent; what a performance! The symphonic styling of the musical backing is equally impressive and while Millie And Billie isn’t the most well-known Cooper track, those who haven’t heard it are missing out for it’s one of his greatest.

Serious is considerably more frantic and while you wouldn’t think it would work, being positioned between two ballad-styled tunes, it doesn’t cause this listener’s mind to miss a beat. Admittedly, it is the Side 2 opener and while streaming doesn’t permit a delay in the playback of the music, as vinyl does, it remains seamless. Ultimately, it isn’t a song you’re likely to seek out on its own, but as part of the concept album experience, it works.

How You Gonna See Me Now is a stunning power ballad that will appeal equally to Barry Manilow fans as much as it will to Alice Cooper aficionados. 

For Veronica’s Sake is a raw rocker. It sits perfectly within the tracking of the album, but it’s more filler than a highlight.

Jackknife Johnny is a much better album-filling tune than For Veronica’s Sake ever could hope to be. That said, Jackknife Johnny has something about it that makes it an intriguing deep cut within Cooper’s back catalogue, yet I can’t quite explain the appeal. Take a listen for yourself and see if you thoroughly enjoy it, for no reason at all. Sometimes that is the magic of music as we don’t necessarily need to analyse why music appeals to us. As long as it moves us, then sometimes it has done its job.

Inmates (We’re All Crazy) would be an ideal song should Cooper ever choose to perform with a symphony orchestra. That said, I can’t help but declare that Inmates (We’re All Crazy) is perfect as it is an example of an ultimate closing tune; one that encourages repeat plays.

From The Inside is one of those albums that can be difficult to get into, especially if you’re not a fan of its story-driven style, but if you let yourself get drawn into the psychology, as well as the music, there’s little doubt that it becomes a therapeutic musical experience. 

The songs, either on their own or as a collective, are amongst Cooper’s greatest and while they may get displaced in his illustrious back catalogue, if you take the time to listen, you’ll likely position them more prominently in your own Alice Cooper playlist as From The Inside is an exceptional, but criminally underrated album.

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Alice Cooper – Flush The Fashion (Album Review)

Released in 1980, Flush The Fashion is Alice Cooper’s fifth album post the Alice Cooper Band era and sees a slight shift in style compared to Cooper’s prior releases. With a new wave feel, one that was particularly relevant to the era, Cooper recorded an album that is nothing short of an underrated masterpiece. 

Flush The Fashion is perhaps most notable, however, for being the first of four albums that Cooper has a minimal recollection of writing and recording due to substance abuse. A shame, considering that this album plus Special Forces, Zipper Catches Skin, and Dada are amongst his finest releases.

While the music, as we’ll see shortly, is exceptional, so is the 2018 vinyl reissue. There’s a fullness present that is simply missing on the lossless Apple Music stream. It isn’t a night or day difference, for it rarely is, but if you’re after gaining every emotive element out of a recording, then I can say with certainty that picking up the vinyl reissue is worthwhile as it is my preferred way to appreciate Flush The Fashion. 

While the sonic reproduction of the digital counterpart isn’t bad, you’ll find yourself reaching for the EQ settings to reduce the album’s harshness. It’s not a dealbreaker, but it would be nice to see Warner Records head back to the archives and re-release a (Hi-Res) Lossless, Apple Digital Master, edition of this classic album. Sure, it may not be considered a landmark release within Cooper’s back catalogue, but for those of us who adore it, it would be welcomed with open arms. 

Talk Talk is a cover of The Music Machine’s debut single from 1966, but Cooper’s recording is uncompromising thereby making it a perfect opening tune and one of my favourite songs from Flush The Fashion. This is one of those rare, but not unheard of, examples whereby the cover surpasses the original.

Clones (We’re All) flows masterfully from Talk Talk and where the opening tune was new wave in style, Clones (We’re All) somewhat follows that styling but kicks up the rock elements while adding disco influences. If you’re like me, you would have already turned the volume up for this is one rhythmically addictive tune and a great asset to Cooper’s extensive back catalogue. 

While I consider Cooper’s recording to be the only one worth listening to, The Smashing Pumpkins recorded a killer version that you need to check out if you haven’t already heard it. 

Pain sounds as if it was taken directly from the Welcome To My Nightmare recording sessions. If for no other reason, that should be enough to get your attention; a brilliant song!

Leather Boots presents us with quite the sonic shift. While it’s grown on me, over the years, it takes a little getting used to. Truth be told, it isn’t the strongest song on the album but I’d miss it if it wasn’t there. 

Aspirin Damage, however, offers a much better transition and is a fun little tune. Perhaps fun isn’t the correct term to use, given the context of the song, but I can’t help but find it lighthearted in tone; most likely due to the musical style of the song. 

Nuclear Infected is a standard run-of-the-mill rock tune. It isn’t anything to write home about, but it’s solid nonetheless. Similarly, to Aspirin Damage, it’s quirky enough that it becomes rather enjoyable the more you listen to it.

Grim Facts has some great guitar work courtesy of Davey Johnstone, but it isn’t only his tracking that’s impressive here for the band is on fire and Cooper delivered his vocal perfectly. A hidden gem? Absolutely!

Model Citizen continues with the grinding rock and roll styling and it’s songs such as this that make me wonder how Flush The Fashion flew below the radar for so many years as it’s right up Cooper’s alley. Regardless, thanks to streaming, we can now all enjoy the lesser-known tunes that, at times, have the potential to be a hit, even if it wasn’t during the era in which it was released. 

Dance Yourself To Death is a solid album tune. While it neither stands out nor should be skipped, sometimes a standard song is all that’s needed to hold an album together. Not every song has to be a hit for an album to be enjoyable. 

Headlines is the perfect closer and Davey Johnstone’s work here is once again appreciated. While some may question the new wave feel to the entire album, especially with Headlines being focused in that sonic direction, it works incredibly well in bookending Flush The Fashion.

With an approximate runtime of 28 minutes, Flush The Fashion is certainly succinct but this is one of the album’s most endearing aspects for it’s repeatable and if you’re like me, you’ll find great pleasure in listening to Flush The Fashion again and again.  

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Spiders – Why Don't You Love Me / Hitch Hike / Don't Blow Your Mind (EP Review)

Before Alice was Alice Cooper he was Vincent Furnier; a young man with a dream of making it big in the music industry. While we know how that story progressed, the earliest recordings of Alice Cooper, both the man and the band, are often overlooked for these recordings don’t fall under the Alice Cooper moniker. Then known as the Spiders, the band entered the studio in 1966 to record Don’t Blow Your Mind; an original (Dennis) Dunaway/Furnier tune that made its way, rightly so, to number one on a local Top Forty radio station¹ in Phoenix, Arizona. 

While the EP Why Don't You Love Me / Hitch Hike / Don't Blow Your Mind, from 1998, offers an admirable facsimile of this original recording, from a sonic perspective, disappointingly the B-side to Don’t Blow Your Mind, No Price Tag, is omitted from this release. Arguably, No Price Tag isn’t the greatest song in the world, and is the poorest from these early recordings, but it is a strange omission nonetheless. The likely reason for its absence is that only 500 copies of the original single were ever pressed and being released over five decades ago, it gets more challenging to track down high-quality original pressings, stampers, and tapes.

Nevertheless, what makes this release so unique is that the pre-Alice Cooper sound was akin to other bands of the era. A Beatles' influence can certainly be heard, as can The Rolling Stones, but when you listen to these early recordings the band sounds nothing like they do on Pretties For You or Easy Action. Some may even suggest that the Spiders sounded far better on these early recordings than on their first couple of albums and I’d have to agree with them. Yes, the Spiders were much more imitators than trendsetters, so the music they performed during this period should be viewed through a lens of influence and mimicry; an act that Cooper himself acknowledges, declaring that had he not had the Beatles or the Stones to mimic, his music career would never have happened².

Of course, the band would branch out into their experimental psychedelic hard rock style and never really return to the style heard in these early recordings. Disappointing from one perspective because these early tunes are compelling but it’s fair to suggest that the band would have gotten swallowed up amongst the other similar bands of the era should they have stayed on that trajectory. Plus, and most importantly, we would have never gotten the incredible music, from Alice Cooper, if their style hadn’t changed. 

Why Don’t You Love Me is a cover of the Blackwells 1965 tune and The Spiders nailed it with a more rock and roll feel than the original. Furnier’s vocal is also stronger with a gruff edginess that we’d become increasingly familiar with from Love It To Death onwards. A great energetic opener. 

Hitch Hike, similarly, is a cover of, believe it or not, Marvin Gaye’s 1962 single. Gaye’s has a solid rhythm and blues groove and as much as I like the original, I’ve gotta say that the Spiders took it, rocked it up, and made it their own with a guitar twang perfectly played and tuned thereby taking the song to another level. Yes, the Spiders’ rendition is in the same vein as The Rolling Stones’ recording from Out Of Our Heads but I still find the Spiders’ recording to be the best version of this classic tune.

Don’t Blow Your Mind is indicative of the era and is an incredible Dunaway/Furnier original composition. Yes, I may have suggested that had they continued on this sonic path they would have been overlooked due to a plethora of similar bands, but Don’t Blow Your Mind is catchy, with a solid hook, that proves that they were destined for stardom. 

Why Don’t You Love Me (Instrumental) is a great closer to have on this release and if you’re like me, and have the EP on repeat, you’ll find it incredibly rewarding to listen to time and time again as it’s short, to the point, but a wonderful exploration in what could have been. 

Why Don't You Love Me / Hitch Hike / Don't Blow Your Mind is a killer EP that I put on par with The Rolling Stones’ Self-Titled EP; a must-own for any music lover’s collection of early band recordings that predate their greatest creative achievements.

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References

1. Alice Cooper: Golf Monster, Chapter 4, Earwigs and Spiders

2. Alice Cooper: Golf Monster, Chapter 2, Black Slacks and a Tight Windsor Knot

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Alice Cooper – Easy Action (Album Review)

Released in 1970, Easy Action was the second album by the Alice Cooper band and the last before producer extraordinaire, Bob Ezrin would take the reins and forever change the course of Alice Cooper. For this album, however, David Briggs played the producer’s role and assisted in creating an album that was still focused on psychedelic influences but was less avant-garde than Alice Cooper’s self-produced 1969 debut Pretties for You. Part of the shift was undoubtedly due to Briggs’ influence, who by that stage was already well established with Neil Young having co-produced Neil Young and Everybody Knows This Is Nowhere, but it’s also fair to say that Briggs didn’t connect with the band in the same manner as Ezrin would when recording Love It to Death. According to Alice Cooper drummer Neal Smith, Briggs had called Alice Cooper’s music ‘psychedelic shit’¹. It was in relation to the song Lay Down and Die, Goodbye, so context is important, for the song is psychedelic acid rock by nature, but as Smith suggests it really did showcase just how much interest Briggs had in pushing the Alice Cooper band to new creative heights.

While Briggs would never produce another Alice Cooper record, placing an unsuitable producer with an artist is sadly all too common within the industry. In this instance, however, we can blame naivety and Shep Gordon, Cooper’s longtime manager, for asking David Briggs to produce Easy Action following the underproduced effort Frank Zappa put into Pretties for You; an album that was essentially composed of rehearsal material. Gordon described to Marc Maron² that following a chance meeting with Briggs, and upon explaining the recording process of Pretties for You, was told by Briggs that that is not how music was written and recorded. Being instantly schooled on the matter, Gordon then asked Briggs if he would produce Easy Action to which he agreed. Of course, it was for naught as the record label (Zappa’s Straight Records) refused to use Briggs’ tapes, according to Gordon, instead choosing, again, to use the rehearsal tapes. It makes you wonder, doesn’t it, what Briggs’ tapes would have sounded like and if they’ll ever see the light of day?

Upon reflection, we can see why Zappa’s Straight Records would want to continue with a rough and raw approach because both Pretties for You and Easy Action has unique qualities that are, certainly in my mind, unmatched. However, as is often the case, the plot thickens. In further discussion with Maron, Gordon would proclaim that the rehearsal tapes for Easy Action were used to ensure that the albums would not appeal to a wider audience as Zappa had been given millions by Warner to sign new artists and if they failed to be a success, he wouldn’t have to pay out royalties. Ridiculous, yes, but not uncommon! 

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What else is not uncommon is poorly pressed and mastered vinyl releases. One could argue that they’re getting better, but the 2009 vinyl re-issue certainly does not fall into that category and should be avoided at all costs. Sonically it’s a mess. It has a decent soundstage and clear stereo separation on several tracks but is a muffled mess on others. Yes, the earlier Alice Cooper albums have a raw and unpolished feel to them that borders on garage rock, but when comparing it directly to the lossless Apple Music stream, I prefer the latter for it offers a more consistent sound which is less fatiguing to listen to.

Additionally, the original gatefold design was omitted, most likely as a cost-saving measure, and those cheap rice paper sleeves that the record shipped in are an insult to every serious music lover. The ghastly green marble coloured vinyl, however, is this collector’s worst nightmare. 

What is correct, or incorrect as the case may be, is the tracklisting on the rear vinyl sleeve whereby Lay Down and Die, Goodbye is the second to last track. This error seems to be present on all original releases that I’ve looked at via Discogs but the error has been rectified on the most recent reissues from 2018 that include the gatefold design. While the Alice Cooper fan within would love to pick up one of the 2018 reissues, it is a case of once bitten twice shy and as much as I appreciate having a complete collection, Easy Action sounds fantastic on Apple Music; hence I feel the stream will suffice.

Mr. & Misdemeanor opens Easy Action with somewhat of a more focused vocal style whereby Cooper’s signature growl makes its first appearance. Even the overall musicality of the band, which would be refined in future records, comes through clearly when listening to Mr. & Misdemeanor thereby making it a solid starting point for the Alice Cooper style of music they’d become most recognised for. Perhaps the greatest failing here is the mix isn’t the best as it sounds rather concealed in places. It’s as if there’s an exceptional tune waiting to be unleashed but one that is simultaneously being held back. 

Shoe Salesman has a Beatles’ influence that I simply adore. Whether or not it was intentional is irrelevant for it makes the song a standout on the album and is one tune that I would have loved to have heard the fab four record. 

Still No Air is weird, even for the Alice Cooper band. It does have one redeeming quality, however, where the lyric ‘When you're a Jet, you're a Jet all the way’ is reused on the groovy Gutter Cat vs. The Jets. This isn’t the only time Alice Cooper would self-plagiarise, for it has also occurred on Refrigerator Heaven and Reflected, but in all cases, the reimaginations offered a worthwhile improvement. 

Below Your Means has a Doors’ sound signature that could be perfectly suited to either band. The bluesy guitar work on this song is glorious making for an overall pleasurable rhythmic experience. I would have loved to have heard Alice Cooper re-record this song with Bob Ezrin as I swear it could have been a stadium filling tune. Nevertheless, Alice would take a backseat here with Michael Bruce taking the vocal reins in a wonderful performance that is only bested by Beautiful Flyaway. 

Return of the Spiders sees a return to Cooper’s gruff vocal that we all know and love; albeit with a little less polish than on Mr. & Misdemeanor. The musical accompaniment, however, fails to impress for the improv style would work well in a live setting but is somewhat lacking in a studio environment.

Laughing At Me can be seen, from a musical perspective, as a precursor to Desperado with specific regard to the tuning and twang of the guitar. An incredible song that all fans should listen to and have in their collection. 

Refrigerator Heaven is one of those short and sweet songs that are quirky, yet addictively compelling. While the band or Alice himself wouldn’t perform any songs from Easy Action live, following the supporting tour for Love It to Death, he did rehash the lyrical quote Refrigerator Heaven on his first solo album, Welcome to My Nightmare, on the song Cold Ethyl; a song that would continue to be on the live setlist throughout the decades. 

Beautiful Flyaway has a killer piano introduction by Michael Bruce. Bruce also performs lead vocals on Beautiful Flyaway, but you’d be forgiven if you missed that aspect as his vocal isn’t too dissimilar to Alice’s although a little smoother. While Bruce would go on to have modest success post-band breakup, he never really received the recognition he deserved for Beautiful Flyaway is one of the best songs on Easy Action and, in my opinion, is a vocal masterpiece that is often overlooked. 

Lay Down and Die, Goodbye isn’t good but there are killer rock and roll elements placed throughout. Let’s just say that Bob Ezrin did a wonderful job when he stripped down not only Alice Cooper's sound but the over-the-top nonsensical musical experimentation. 

Overall, Easy Action has some incredible tracks but I remain undecided if it is best listened to as a series of individual songs, selected at random and based on personal preference, or if it needs to be experienced in the album format. Perhaps I’ll never know and surprisingly I’m okay with not being able to pigeonhole Easy Action, for the internal conflict ensures that I’ll listen to, and enjoy, the album for many more years to come; just not via the 2009 vinyl reissue. 

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Alice Cooper – Muscle Of Love (Album Review On Vinyl & Apple Music)

Despite being an album focused on juvenile sexual innuendos, Muscle Of Love is one of the greatest Alice Cooper band albums ever recorded and in a way, it’s a shame that it was the last to include the original band lineup. While Bob Ezrin was noticeably absent in the Producer's chair, Jack Douglas and Jack Richardson did a wonderful job of guiding the album, while allowing creative artistry to flourish.

Yes, many of the songs on Muscle Of Love have never been part of Cooper's live set, at least for many years, but I've often found that with Alice Cooper, the best albums, songs, and performances are not necessarily the compilation filling or concert played fan favourites. Therefore, I implore you to give Muscle Of Love, as an album, a shot. I have a feeling you won't regret it.

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I know I haven't regretted picking up the Friday Music vinyl re-issue from 2013. While the reissue isn't a perfect replica, sonically it is beautiful with a full analogue sound that will impress even the most hardened critic. It is said to have been mastered from the original Warner Bros. tapes by Joe Reagoso and after listening to it countless times, I have no reason to doubt Friday Music's claims. It really is that good!

The Apple Music stream is, similarly, beautiful with a mastering that is similar to the vinyl record. If there is a difference to report, it would be that the Apple Music stream sounds a little concealed by direct comparison to the vinyl release. That said, regardless of how you choose to enjoy this classic, you’re most likely going to love it. 

SIDE I

Big Apple Dreamin' (Hippo) not only has a great groove, but that psychedelic undertone is superb. I dare you to sit still, without moving a muscle, during this song, I can't do it. The guitar tracking is divine and the inclusion of the violins perfectly suits the song. Plus, that outro = extraordinary!

Never Been Sold Before is your meat and potatoes rock and roll track. I love it! Just as the addition of strings to Big Apple Dreamin' (Hippo) enhanced that song, the horn element in Never Been Sold Before is fantastic and has a similar effect. If I had one complaint, it would be that I'd like to hear a 1 to 2 decibel increase in the bass guitar.

Hard Hearted Alice is a song that slowly builds with a beautiful atmospheric introduction. This is one song where the quadraphonic mix would likely be astonishing, but the vinyl and Apple Music counterparts are no slouch with a soundstage that removes the speakers, creating a spacious sound that has to be heard to be believed.

Crazy Little Child is a fun song. I adore the piano element and I love the overall New Orleans Jazz feel. I'd love to see Cooper do an entire jazz album, even one full of standards would do. He certainly has the vocal chops for it.

SIDE II

Working Up A Sweat continues the lighthearted approach to the overall theme of the album. It's a solid song, but not one to write home about as I find Cooper’s vocals are distant in the mix, although, the music has an addictive and thoroughly enjoyable rhythm.

Muscle Of Love is a killer tune. Both the guitar intro and drum tempo are superb and I find myself playing the air guitar and drums when listening to this song. Exceptional!

Man With The Golden Gun was originally written and recorded for the associated James Bond film but was sadly never used. When you listen to the song, armed with that knowledge, you can immediately hear the James Bond undertones and one can only wonder how the Man With The Golden Gun’s introduction would have differed with this song. Nevertheless, it’s a solid addition to Muscle Of Love and I'm glad it was released and not shelved as it is quite enjoyable, even if it’s not the strongest song on the album.

Teenage Lament '74 has remained somewhat of a fan favourite and while I thoroughly enjoy the song, I feel bemused as to its popularity. I guess it just proves that I should never be asked by an artist, or record label, which songs should be released as a single or be played live.

Woman Machine is an interesting song to close the album on. Yes, it encourages me to listen to the album again and stay within Alice Cooper's extensive catalogue, but I find Woman Machine to be a little repetitive and the outro is a little too much, in my opinion, although I can see the approach the band were going for.

Overall, Muscle Of Love is exceptional and is truly one of the best Alice Cooper band albums ever recorded. 

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