They’re back!
The Alice Cooper band has returned after a five-decade hiatus with one of the most anticipated releases in recent memory. Yes, Alice Cooper — the man, the myth, the legend — has remained active as a solo artist, with a series of rotating band members, since 1975’s classic Welcome To My Nightmare, as the last studio album featuring the original Alice Cooper band was 1973’s exceptional Muscle Of Love. Yes, Michael Bruce, Dennis Dunaway, and Neil Smith have all collaborated and recorded with Alice in recent years, but it was via a series of tracks rather than an entire album. So, after so many years, could the original Alice Cooper band’s magic be recaptured?
The results speak for themselves. The Revenge Of Alice Cooper is not only a triumphant return, but it’s one of the finest album experiences in recent rock history.
Let’s be honest, not all legacy comebacks are noteworthy. Voyage failed to live up to ABBA’s legacy. AC/DC’s Power Up was adequate, at best. The Rolling Stones, however, proved that an exceptional new release, from a legendary band, was indeed possible with the release of Hackney Diamonds in 2023. And now, Alice Cooper joins that rarified group of artists who’ve managed to deliver a genuinely compelling modern release, not just for the longtime fans, but for music lovers the world over.
As you listen to The Revenge Of Alice Cooper, it becomes abundantly clear that this record is, above all else, an album experience. There may not be a runaway hit on the scale of “School’s Out” or “I’m Eighteen,” but that’s beside the point. This is a cohesive, confident, and utterly enjoyable record from start to finish. Yes, “Crap That Gets In The Way Of Your Dreams” and “Famous Face” feel like natural single choices, but neither has been released as a single. Even “What A Syd” would have been single-worthy as its whimsical nature, tongue-in-cheek lyricism, and unmistakable flair is quintessentially Alice, without the shock-rock elements, of course. Interestingly, the single release schedule mimicked the album’s linear structure. Perhaps the intent was to focus on the album’s overall structure and flow, but it feels as if this was a missed opportunity to highlight some of the album’s standout tracks, despite the first three being highly compelling.
From the first spin, it’s clear that this isn’t some half-hearted reunion. The Revenge of Alice Cooper sounds like a natural continuation of the band’s classic 70s output, but with modern production values. There’s a fluidity and tightness here that suggests the band never really went away; they were just biding their time to release what will most likely become a landmark record. That’s no accident, and much of the credit goes to long-time producer Bob Ezrin, who also mixed the record. A vital architect of the original Alice Cooper sound, Ezrin’s fingerprints are all over this release, just as they were on Love It To Death, Killer, School’s Out, and Billion Dollar Babies. He knows how to get the best out of Alice, usually, and it shows. His return ensures that The Revenge of Alice Cooper not only sounds authentic but fresh, bridging the gap between the past and the present without ever sounding like a nostalgia trip.
Speaking of how the album sounds, the Lossless Apple Music stream is mastered a little louder than I’d ideally like, resulting in a touch of listening fatigue that may have you turning the volume down, rather than up. There’s minor crunching at the top end of the audible spectrum, which is a shame given how exceptional the music as a whole is, but if you can handle a little cymbal crunching, or dial back the treble on your system, you’ll likely find that it is more than acceptable as the album is, otherwise, sonically beautiful.
Of course, it isn’t only the music that’s appealing when it comes to this release, as the artwork invites the listener in. The visual aesthetic is unmistakably Alice Cooper, and it sets the tone before a single note is played. As to which version I intend to pick up for my collection, I’m going with the CD release. While I’ve no doubt one of the vinyl variants would look extraordinary, the price of vinyl is a little too high these days for this music lover. Plus, I’ve grown weary of double LP releases as the flipping of sides gets old, and at 54 minutes long, a single record release would have been far from ideal, as it would either need to be sonically compromised or truncated.
The Deluxe Box set looks incredible, but as there are only 5,000 available worldwide, all you super duper Alice Cooper fans have, seemingly, already purchased your copies. Truth be told, I love the concept, but I would rarely wear the T-shirt, and while the bonus 7-inch vinyl, exclusively containing Return Of The Spiders 2025 and Titanic Overunderture, is desirable, I prefer focusing on core album experiences these days. So, with that in mind, join me as I take a look at the songs that make up The Revenge Of Alice Cooper.
Black Mamba launches the album in the sinister tone that is trademark Alice Cooper, with a spoken word introduction that has become a notable element in much of Alice Cooper’s music. While I question if it was the best song to be released as the lead single, there is an undeniable vibe that will see you toe-tapping and head-bopping along, and it’s, therefore, the perfect song to open the album with.
Wild Ones picks up the tempo, and while you may not be toe-tapping or head-bopping, you’ll feel compelled to pull out your air guitar on this fast, yet mid-tempo number as Cooper’s tempered vocal, atop the thunderous musical bed, ensures that Wild Ones is highly compelling.
Up All Night is a killer tune with an incredible rhythm and magnificent guitar tuning. The chorus, however, is a little campy, despite working exceptionally well with Cooper’s cheeky lyrical approach.
Kill The Flies is the song where I feel the album really starts to ramp up for the narrative-driven story arc, along with some incredible musical licks, is Alice Cooper 101 and will especially appeal to longtime fans. It’s, without a doubt, one of the best songs from the album and amongst the greatest the band has ever recorded.
One Night Stand is an interesting song for it’s got a Nick Cave & The Bad Seeds feel, and while it may not have appealed to me upon first listen, the more I play The Revenge Of Alice Cooper, the more I find myself captivated by this tune.
Blood On The Sun is a modern masterpiece. It sees Alice Cooper at their very best, and Ezrin’s production and mixing style can be heard throughout as it’s one of the most elaborate musical performances on the record. The layering of musical elements and overall soundstage is extremely enticing and is not only amongst the greatest they’ve ever recorded, but I feel that this will be a standout from the album in the years and decades to come.
Crap That Gets In The Way Of Your Dreams flows perfectly from Blood On The Sun, and if you haven’t turned the volume up, now is your chance, for this hard rocker deserves to be heard at ear-bleeding levels. There’s a ton of attitude to be heard here, but it’s the catchy chorus, guitar solo, and solid rhythm that will make this a fan favourite, especially when performed live.
Famous Face is another that has legendary status written all over it, for the fat guitar tuning, rock-solid rhythm, and Alice’s incredible vocal prowess make this a memorable tune that will have you coming back time and time again. It also helps that the chorus is catchy enough, so much so that Famous Face will likely become an earworm for many of us.
Money Screams has a ‘60s meets the ‘70s feel to it with a touch of punk. It isn’t, however, the strongest song on the album, yet I can’t quite put my finger on what is missing. Alice’s chosen vocal style is a little too different to what we normally expect from him, but it also has teeny bopper film vibes to it that take away from the song itself. Still, as an album-only number, it’s solid, but should have probably been excluded from the record and kept as a B-side for a later release.
What A Syd has a jazzy rhythm that harkens back to Cooper’s blackout era, particularly that which was heard from 1977’s Lace And Whiskey. As such, given that it is one of my all-time favourite Alice Cooper records, I adore this tune and only wish that it were longer, or that there were more songs on the album that were written and recorded in a similar manner.
Inter Galactic Vagabond Blues is a solid hard rocker with a blues-band feel that, along with the harmonica, could only have been improved if it had included the use of a cowbell.
What Happened To You, aside from being a killer tune, is a tribute to Glen Buxton, who is sadly no longer with us, having passed in 1997, for his original guitar licks can be heard throughout.
I Ain't Done Wrong is a song that you’d expect more from Aerosmith than Alice Cooper. It isn’t bad, it just lacks a little bit of Alice Cooper’s originality.
See You On The Other Side is the only misstep on the record, for as a would-be farewell song, it falls just short of its emotional target. While the intention is there, the execution feels too reserved, particularly in Alice’s vocal delivery, which doesn’t quite reach the vulnerability of a cracked note in his upper register. For reference, Kenny Rogers nailed this aspect on his posthumous release, Life Is A Song, with the song Goodbye. Still, this minor disappointment doesn’t detract from the album, and you’ll find yourself rewarded upon repeat listens, for this is one record that is going to get better the more often you listen to it.
Ultimately, The Revenge Of Alice Cooper is so impressive that if this were to be the final Alice Cooper album, it’s an ideal closing chapter to a spectacular career, and to do so with the surviving members of the original lineup is a dream come true for Alice Cooper fans.