Alice Cooper – Killer (Album Review)

Released in November 1971, eight months after Love It To Death, Killer not only built upon the success of that breakout album but also became a defining statement of early-‘70s hard rock along with the Alice Cooper band’s musical, theatrical, and conceptual ambitions. Despite the short timeframe between releases, Killer presents a considerably different Alice Cooper as this, their fourth studio album, feels like a more deliberate and darker collection of songs that remain fan favourites to this day.

Bob Ezrin once again proved his worth in the production chair, encouraging even greater tightness and songwriting while ensuring a production standard that has defined the band, the era, and his career. He is, in many respects, the most influential person as it pertains to Alice Cooper’s metamorphosis and subsequent growth in popularity. Yes, the band was extraordinary, but Ezrin made them legendary.

Speaking of things that are legendary, Killer’s cover art is one of the most striking from the era. While not laced in controversy, as Love It To Death was, the inner gatefold, depicting Alice’s hanging, has often received varied opinions. When you contrast it to Alice Cooper’s shock rock approach, however, it’s perfectly aligned with the band’s theatrics. While many of these aspects are lost in modern streaming and digital solutions, given the lack of detailed liner notes, Killer is from an era when the visual accompaniment was often as important, if not more so, than the music contained within the record.

Alongside the striking album artwork, and the incredible song selection, is a mature-sounding record. As you listen to the mix, you’ll come to appreciate the delicate nature of the recording, for this wasn’t merely a thrown-together rock and roll album, but a finely tuned audible spectacle. Despite being remastered for the album’s 50th Anniversary (but released in 2023), I still maintain that the 2004 CD-quality lossless Apple Music stream is the go-to edition, over the newer release.

Warner Music has, thankfully, kept the legacy release alongside the remaster on Apple Music, thereby allowing fans to choose their preferred edition. This is, naturally, a good thing as both releases are notably different to each other. We’re not talking about a remix, but upon initial listens, I feel the 2023 remaster is a little less dynamic and a tad more bloated in the mid to low-end of the audible spectrum. Some may naturally appreciate this boost, for it’s aligned with modern mastering techniques, but tone controls can achieve the same result and can be dialled in, specifically, to one’s subjective preference.

The bottom line, as it pertains to sound quality, is that I implore you to listen for yourself as both versions are readily available. It really is a subjective preference, and one isn’t “better” than the other. So, dear reader, take a listen to the 2023 remaster, or the legacy 2004 CD-quality stream, as we take a look at the songs that make up this classic release.

Under My Wheels sets the tone for the record with a screeching rock and roll vibe from the very first note. Perfectly suited to the era, and Alice Cooper’s style, the brass instrumentation sets it apart in a memorable manner. The only negative aspect is it’s too darn short; punk rock, anyone?

Be My Lover is a spectacular glam rock number, one that is semi-autobiographical as it talks of the groupies that associate themselves with musicians. Ah, what it would be like to be a rock and roll star. While most of us will never know, we can live vicariously through this killer tune; thank you, Michael Bruce!

Halo Of Flies is filled with an eerie musical bed that ideally positions itself as a prog rock masterpiece. Despite its length and ambitious composition, “Halo Of Flies” remains unruly and is one of the best songs that the Alice Cooper band ever composed.

Desperado was perfectly tracked and is the ideal song to follow “Halo Of Flies” for it, too, is one of the greatest songs Alice Cooper (band, or solo) has ever recorded. Despite being written as a homage to Jim Morrison, the correlation simply escapes me. Yes, I prefer listening to vocals as another instrument within the mix, rather than a storytelling device, but even when perusing the lyrics, I fail to see the association. Nevertheless, it’s a great tune and is even greater when performed live.

You Drive Me Nervous picks up the tempo, and as the song progresses, there are moments when you’ll hear the influence the Alice Cooper band had on the legendary Australian rockers Skyhooks. That correlation aside, “You Drive Me Nervous” is short, punchy, and playful; a hallmark of a perfect opening tune for the second half of the record.

Yeah, Yeah, Yeah has a charm to it, and while it flows perfectly from “You Drive Me Nervous”, this album-only tune is unlikely to be anyone’s favourite. Still, Killer wouldn’t be the same without it, and every song does not need to be an elaborate composition for an album to be considered top-tier.

Dead Babies adds a little controversy to the record; that is, if you only focus on the song’s title and fail to comprehend the lyrics. Despite that, this song remains one of the most compelling and heart-wrenching tales told via music. The musical bed is haunting, as are the sound effects, but Cooper’s vocal delivery, in particular, is one of the greatest in his entire career.

Killer flows seamlessly from “Dead Babies” with a similar tonality that closes the album perfectly by permitting reflection as well as encouraging you to spin the record again. Its multilayered experimental nature, with a touch of prog-rock, results in a musical dreamscape that is amongst the most creative of the era and genre. A minor quibble, however, is that closing sci-fi element. It adds no value to the song and, at best, is grating to the senses.

Overall, Killer is (pun intended) a killer record that has not only stood the test of time, but remains one of Alice Cooper’s most beloved. As a fan favourite, it has endured because it has a little bit of everything. From the ballad-styled approach of “Desperado” to the theatrical and progressive styling of songs such as “Halo Of Flies” and “Dead Babies”, Killer showcases a band on the precipice of greatness, for this is a highly enticing album experience and one of the very best from 1971.

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Alice Cooper – Love It To Death (Album Review)

When thinking of the origins of Alice Cooper, one’s mind naturally turns to Love It To Death, as it’s arguably the one release, early in their career, that most aligns with the Alice Cooper band’s renowned musical style. No, for newcomers to Alice Cooper, this wasn’t their first or even second release, and while Pretties For You and Easy Action are compelling in their own right, neither had the perfect amount of balance and cohesion necessary to be a landmark release.

Released in 1971, Love It To Death was the first of two Alice Cooper albums released that year. While Killer built further upon the tightness that producer Bob Ezrin and the band would achieve on Love It To Death, there’s an experimental edge to this release that is difficult to ignore. Fans of the band’s first two albums will hear correlations, but the stylistic shift signified a type of music that, up until this point, had yet to be conceived, thereby making it, for the time, at least, extraordinarily unique.

Many classic albums launch with impressive album artwork, and Love It To Death is no exception. Featuring a striking black and white photograph of the band, the album’s artwork is far from controversial as the original uncensored cover art shows Alice with his thumb sticking out of his pants. It was deemed obscene at the time, and reissues, from 1972 to approximately the mid-2000s, contained the edited version sans the controversial thumb. Thankfully, as it pertains to modern reissues, including those on streaming platforms, the album artwork has been returned to its core origins. While one may ponder what the big deal was, for there are many more disturbing album artworks that can be discussed, the outrage undoubtedly added to the mystique of the band. While I usually prefer artwork, in all forms, to be free of censorship, I must admit that I prefer the artwork minus the thumb as I feel it’s less visually distracting.

From an audible perspective, while the recording and mix are done rather nicely, the mastered edition, on Apple Music, is a little muffled in places. Yes, it adds a patina and character to the overall recording, and is anything but shrill; however, there’s a greater sonic presentation to be heard, should the veil be lifted.

While there are different masterings of this classic release, two of the core ones have been limited to singular releases thus far. Steve Hoffman’s Audio Fidelity mastering has been limited to a numbered edition CD (HDCD, more specifically) release and the latest vinyl reissue, mastered by Kevin Gray, has similarly been restricted to that of a singular 2025 reissue and has yet to make it to any digital format, as the stream indicates a publishing date of 2004.

While it goes beyond the scope of this review, I’ve never understood artificially limiting reissues, especially when done by some of the most respected remastering engineers. If they’re that good, and many times they are, then why not permit it to be heard by a broader audience? While I have no answers to that question, it does compel me to pick up the 2025 vinyl reissue as it’s receiving significant praise from fans who have already added it to their collection. Until then, however, the Dolby NR-sounding digital stream will have to suffice.

Caught In A Dream opens the album in a lively manner, with a rock and roll energy that is not only highly compelling but utterly addictive. You’ll find yourself grabbing an air guitar and rocking out to this killer tune. Despite being released as a single, it failed to set the charts on fire following the success of “I’m Eighteen”, and despite being one of the best songs from the Alice Cooper band era, “Caught In A Dream” has, unfortunately, never quite received the accolades it deserves.

I'm Eighteen is, without a doubt, the album’s most notable track as it’s a mainstay of Cooper’s live performances and continues to be admired by fans the world over. For a song that was first released over five decades ago, it has most certainly come of age like a fine wine and appeals to each new generation, longing for independence, amidst internal conflict, as one attempts to carve out their own legacy of non-conformity within societal expectations.

In many respects, it was “I’m Eighteen” that put Alice Cooper on the map, as the single performed well enough on the charts to garner confidence from their record label (Straight Records | Warner Bros.) in relation to releasing a full album. Naturally, it helps if the band and the production team act as fans and request airplay via radio stations, but had that not been done, there’s a possibility that Alice Cooper would have been a mere footnote in the history of recorded music.

Long Way To Go is a high-energy number in a similar vein to the album’s opener. It sees the Alice Cooper band incorporate Ezrin’s tight song structure, and while there are bound to be those that dislike this approach, preferring the jam-style and overall looseness of their early recordings, “Long Way To Go” proves that sometimes less is more…that is, until the epic that is “Black Juju” comes along.

Black Juju is a true masterpiece in every sense of the word. Despite its extended length, and being a throwback to the albums that came before this one, “Black Juju” remains tight, somewhat haunting, and highly compelling. No, it was never going to be released as a single, for it isn’t the kind of song that could have been truncated, but it’s a piece of audible art that is amongst the greatest exploration of musical talent you’re ever likely to hear. Whether it’s the layers of instrumental wonder or Cooper’s divinely emotive vocals, “Black Juju” is amongst the greatest the band ever recorded, and while it does act as somewhat of a detour to the album’s linear structure, it is an extraordinary composition nonetheless.

Is It My Body returns the album to its core rock and roll vibe, with a touch of hard rock. It may not be a standout, unlike some of the other songs from Love It To Death, but it doesn’t need to be because this tune is quintessentially Alice Cooper; one that will see you toe-tapping and head-bopping along.

Hallowed Be My Name is a killer tune with a haunting introduction that creates the backbone of the song. It’s succinct, fun, and is another that ensures Love It To Death is an exceptional album experience whilst simultaneously helping to further define Alice Cooper’s signature sound.

Second Coming is one of my all-time favourite Alice Cooper band tunes. Its style reminds me fondly of Cooper’s solo-era recordings from around 1978’s From The Inside. “Second Coming”, however, is one of the songs that I feel is too short. Yes, it leaves you wanting more and can be seen as more of a lead-in for “Ballad Of Dwight Fry”, but it’s moments like this that I really wish the two songs had been connected as one. Yes, if listening via the album’s linear structure, as one would do more often than not on vinyl, the blend is seamless, but if one wishes to put “Second Coming” on repeat, for instance, in the digital era, it’s a little more problematic. First world problems, I know, but the two songs in conjunction form a masterful composition and lead into the closing track in an utterly perfect manner that showcases just how extraordinary Ezrin was in the production chair.

Sun Arise is a cover of the Rolf Harris original, but this interpretation by the Alice Cooper band breathes new life into the song and is a wonderful closing number for Love It To Death, as it permits contemplation and will likely encourage you to spin the record again.

From start to finish, Love It To Death is a quintessential Alice Cooper band release that laid the groundwork for their renowned hard rock style. While it escapes much of the psychedelic experimental stylings heard on their original releases, the amalgamation of styles delivers a uniqueness that has been inspirational for countless musicians. It, subsequently, wouldn’t be far-fetched to suggest that had it not been for Love It To Death, the Punk, Hard Rock, and Heavy Metal scenes would be considerably different had this record never seen the light of day. So, dear reader, let’s give the record another spin and love it till death do us part, for this landmark release is one of the greatest albums of all time.

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Alice Cooper – School's Out (Album Review)

School’s Out isn’t quite Killer, nor is it Billion Dollar Babies. Still, this 1972 release, the Alice Cooper band’s fifth studio record, is a culmination of everything that came before and a precursor to the incredible music that was on the horizon. Most importantly, however, School’s Out has its own unique qualities that separate it from the other albums in Alice Cooper’s discography, as the combination of glam and hard rock culminated in one of the most rewarding Alice Cooper experiences one can enjoy.

Regular readers may note that I’ve only ranked School’s Out as Alice Cooper’s 15th best studio album, on the Alice Cooper: Albums Ranked (From Worst To Best) list, yet that shouldn’t be seen as a negative aspect, for the only reason it’s ranked in that position is because 14 other Alice Cooper releases are, subjectively, better. It’s a good problem to have, however, as there can never be too much Alice Cooper and with 30 albums to choose from, we’re incredibly fortunate to have such a wealth of incredible music.

It isn’t only the music, though, as the album’s artwork is legendary. That is, if you’re not listening via streaming services. No matter how technologically advanced streaming services are, the original school desk packaging cannot be replicated. While a CD release has the potential to offer a smaller facsimile of the original artwork, School’s Out is most certainly of its era, and the larger vinyl canvas is the perfect size, thereby allowing the faux desk design to open, revealing the inside of the school desk in the way one might expect. It’s an experience that really needs to be presented in its original intent, panties and all. Yes, dear reader, a pair of panties was included for music lovers to wrap around their record, like a sleeve.

Of course, some don’t care for physical presentations, and I can certainly attest to some of these intriguingly intricate designs being more trouble than their worth, especially as it pertains to easy and fast access to the record. So, for those who wish to simply get the party started, you can’t go wrong with the lossless Apple Music stream, but which edition should you choose?

Thankfully, common sense has prevailed, and rather than completely replacing the prior CD mastering, from 2004, it was kept alongside the 2023 remaster; a version of the album that simply doesn’t sound right. Granted, I’ve been listening to the older mastering for decades, but in providing a bolder presentation in both the low and midrange, the sparkle of the recording has been lost in this most recent remastering.

While it could be suggested that the 2023 remaster brings the album up to modern-day standards, the bigger problem (unrelated to this release) is the absence of tone controls on modern stereo systems. No, I’m not talking about EQ settings, for that is a different beast entirely, but bass and treble dials that once adorned every piece of stereo equipment and would allow the listener to dial the sound to their preferred tonal preferences. These days, more than ever, mastering engineers need to appeal to the masses. While EQ settings, especially ones that offer full control, rather than a set of presets, are incredibly useful, sometimes adjusting the bass up a notch and the treble down by one can achieve the desired result. In many respects, while I can appreciate the 2023 remaster, I dare say that an adjustment to one’s tone controls (or EQ) would yield a similar result and would be fully customisable to an individual’s taste (artistic intent, be damned).

All that said, I do prefer the rawness of the earlier digital reissue as I find it aligns well with the band’s raw production qualities. So, with that in mind, take a listen as we explore the songs that make up this timeless masterpiece.

School's Out is synonymous with Alice Cooper, and while it’s not the greatest song from the band (or Alice himself), it has a rebellious quality about it that all of us, regardless of age, can appreciate. In essence, “School’s Out” is a timeless tale that talks to the human need for freedom from that which is required of us. Add to that the legendary glam rock styling, and there’s little wonder as to why this has remained a fan favourite and a mainstay of Cooper’s live performances.

Luney Tune shifts to a more sombre tone, but that isn’t a detraction, as Luney Tune is a darker, yet fun, song that is Alice Cooper 101. No, it was never going to be a standout, but as an album-only song, Luney Tune is a wondrous addition as it adds a sense of theatricality to the record.

Gutter Cat vs. The Jets is, without a doubt, the coolest song from School’s Out. Not only is it showcasing Alice Cooper’s extended and more elaborate styling, in a similar manner to “Black Juju”, but it’s perfectly suited to the era, so much so that it wouldn’t be completely out of left field to suggest that this is a song one may have expected from Elton John. However, it is the overall quirkiness that adds another level of intrigue for it’s akin to a memorable vaudeville carnival-style performance; one that will keep you coming back for more.

Street Fight flows seamlessly from “Gutter Cat vs. The Jets”, but it isn’t really a song. A palette cleanser, perhaps, but as a musical interlude, it’s ideally sequenced.

Blue Turk is a killer tune with a bluesy feel that will appeal to just about anyone interested in a multi-layered musical performance, one which features the legendary Wayne Andre on trombone. Overall, “Blue Turk” is a compositional wonder in and of itself, for the complexity and entire musical performance is extraordinarily compelling.

My Stars is a gorgeous tune and is one that would influence many musicians in the subsequent decades. You can most certainly hear a possible influence of Glen Buxton’s guitar work on Slash’s career, particularly as it applies to his Guns N’ Roses recordings. Beyond that, the song’s melodic hooks captivate, making it an incredible piece of audible art and one of the best rock tunes from the 70s.

Public Animal #9 is an upbeat animal (pun intended). As a playful tune, you’ll find yourself toe-tapping and head-bopping along, and while it isn’t necessarily a standout, the gravelly vocal presence of Alice is utterly perfect on this tune.

Alma Mater has a beautiful introduction, and while the delicate musicality continues throughout, even when the song really gets going, “Alma Mater” is one of the most uniquely different tunes Alice Cooper has ever recorded. It’s reminiscent of The Beatles, and works well in that tip-of-the-hat context, but it’s equally not quite Alice Cooper. Nevertheless, it’s an exceptional song and is one of the best from the record.

Grande Finale is a musical masterpiece and the perfect closer for the record. Yes, it is earworm-inducing, but in the best way possible, as it’s a stunning instrumental composition and ends the album on a high note, bringing together many of the record’s themes in a layered and enveloping sonic presentation.

Few albums are as lauded as Alice Cooper’s School’s Out. In part, that is due to the spectacular original album artwork, for while it can be seen as somewhat of a novelty, it expands the album and offers a perfect counterpart to the music itself. Artwork aside, School’s Out is a raw recording that is perfectly aligned with Alice Cooper’s origins, yet in an interesting dichotomy, it’s well-produced with incredible songwriting and performances throughout. Ultimately, School’s Out is a quintessential album experience and is one of the greatest releases from the band.

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Alice Cooper – Raise Your Fist And Yell (Album Review)

By 1987, Alice Cooper was well and truly on his way to re-establishing himself in the hard rock and heavy metal scene, following the severely underrated gem that is Constrictor (1986). No longer locked in a haze of early 80s substance abuse, and fuelled with newfound energy, Raise Your Fist And Yell is another of Cooper’s undervalued albums. Look at the era and the overall style of hard rock releases, at the time, and you’ll likely find this record aligns perfectly with the 80s metal aesthetic. Add to that Cooper’s signature theatricality and macabre storytelling, driven by a more aggressive sound with sharper guitars, blistering solos, and some killer vocal licks, and what you’ve got is an album that has rightfully earned its cult following.

Visually stunning, both of Cooper’s MCA Records releases played into his persona and are amongst the greatest of his illustrious career. However, an album is more about the chosen song selection and linear tracking, and in this regard, Raise Your Fist And Yell is spectacular. The same can’t be said, however, for the mastering of this release. As with Constrictor, these MCA releases are in desperate need of a respectful remaster. Yes, the 80s sheen has its charm, but the sonic presentation of the lossless Apple Music stream is a little thin, resulting in a sound that lacks the emphasis often associated with Cooper’s work.

The mix is also somewhat concealed, with musical elements being lost in the wall of sound. Usually, I wouldn’t advocate for a remix, but this is one record that would benefit from a more forward and enveloping mix. All that said, the music is so good that I can easily overlook the sonic shortcomings. So, join me, dear reader, as we take a look at the songs that make up this underrated release.

Freedom was, surprisingly, the album’s only single. Granted, Cooper’s 80s era recordings had thus far failed to set the charts on fire, but there are some killer tunes here that MCA Records could have taken advantage of and ultimately didn't. Nevertheless, Freedom, as a protest song, will appeal to anyone not only opposed to Parental Advisory labels but also seeking a sense of liberation that only music can provide. Overall, Freedom is fundamentally rebellious and catchy with sharp riffing, a solid rhythmic backing, and a rousing chorus that has stadium-filling anthem written all over it.

Lock Me Up is fast-paced and relentless, with an interesting inclusion from Freddy Krueger himself, via actor Robert Englund. Kane Roberts’ blistering guitar work drives the song forward, but it’s Cooper’s vocal dexterity that truly shines, making Lock Me Up one of his most underrated tunes.

Give The Radio Back would have been an ideal single, as it’s one of the most melodic and radio-friendly songs on the album and is, without a doubt, a hidden gem; one that will appeal to just about any rock and roller.

Step On You is a killer tune that could have been a chart-topper had the label put their production weight behind it. Yes, it leans more toward the aggressive and sinister, with thunderous instrumentation and Cooper’s biting delivery, but it should have never been overlooked.

Not That Kind Of Love continues the masterful hard rock styling with muscular riffs, a strong rhythm, and a solid vocal performance from Cooper. However, the backing vocal elements are more of a distraction than an addition. While backing vocals were extremely common during the era, it is a technique that doesn’t always age gracefully.

Prince Of Darkness is a menacing number with some incredible musical moments. Roberts is seriously underrated in Cooper’s legacy, and his contribution here is amongst the best 80s rock had to offer. Incidentally, he was also instrumental in co-writing the songs, not only from this album, but from Constrictor as well.

Time To Kill is a blistering toe-tapping head-bopper. Unlike Not That Kind Of Love, Time To Kill’s backing vocal element perfectly complements Cooper, adding further depth to the mix, and making it another underappreciated gem.

Chop, Chop, Chop is gruesome yet theatrical, with darkly humorous and witty lyrics that epitomise Alice Cooper’s persona. The frenetic pace and unrelenting riffs play to the psychotic chaos of the subject matter, making it both shocking and entertaining.

Gail is a magnificently eerie and atmospheric continuation from Chop, Chop, Chop, and while Raise Your Fist And Yell isn’t a concept album, it’s satisfying to see Cooper weave a narrative thread, as concept-driven storytelling is one of his greatest strengths.

Roses On White Lace closes the album with explosive force. The guitars are ferocious, the drumming relentless, and Alice’s vocal performance is perfectly suited to what is one of his heaviest tunes. It’s a highlight that leaves you eager to replay the record, proving that Raise Your Fist And Yell is capable of captivating you if you give it a chance.

Despite its lack of mainstream success, Raise Your Fist And Yell is highly compelling and remains, for many fans, an essential piece of Alice Cooper’s discography. Its blend of anthemic rockers and theatrical-styled performances captures everything that makes Alice Cooper unique, making this release a must-listen for any hard rock music fan.

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Alice Cooper – Billion Dollar Babies (Album Review)

Released in 1973, at the height of the Alice Cooper band’s creativity, Billion Dollar Babies remains a landmark sixth studio album, one that captured the band’s daring blend of rock with biting social commentary and has remained amongst their most beloved. Building upon the shock rock foundation of their earlier records, Billion Dollar Babies provides a spectacular contrast, as this release bursts with confidence and the highest of production values, both of which pushed the boundaries of mainstream rock in the early 70s.

Speaking of the production quality, Billion Dollar Babies is impressive. Every aspect has been well considered, with the artwork being just as important as the music itself. Those who stream or purchase digital downloads may not be aware, but the artwork design was next-level as it was presented as a wallet gatefold featuring a billion dollar note, amongst other interesting liner note elements, such as the band being dressed in white playing with bunnies, a whole pile of money, and a baby doll so unsettling it could give Chucky nightmares. It really is something to behold as you listen to this masterful production, one of Bob Ezrin’s greatest with the band.

One of the more confusing aspects for fans, however, is the plethora of available releases. There are reissues with bonus tracks, live performances, and surround sound mixes that give one a sense of fulfilment. That is, until you find yourself faced with which version to obtain or play. Choice is a good thing, they say, and while that may be true, to an extent, all I truly want these days is the original album in its entirety. All the bonus material may be fine from a completist perspective, but if we’re being honest, most of us would only listen to the bonus material once or twice.

Of course, the Quadraphonic edition, including the 2023 reissue, is another beast entirely, as is the unique 5.1 Surround Mix found on the 2001 DVD Audio release. As I’ve yet to hear any of the surround mixes, and therefore can’t comment further, may I suggest you head across to Quadraphonic Quad, for their community members are extremely well versed in any and all surround sound releases, including this landmark record.

Interestingly, with Apple’s push for surround mixes, one would have assumed that we would see it land on Apple Music, but it has yet to be delivered by Warner Records Inc., despite the 50th Anniversary Deluxe Edition showing up, in stereo, on the streaming platform. Nevertheless, it’s one less option to have to choose from, which is somewhat of a relief.   

While I’ve been fortunate to have owned the Deluxe Edition from 2001, and that version is still available via Apple Music, it remains my go-to as it simply sounds right. While I have nothing truly bad to say about the 2023 remaster, I find the album has lost a bit of its sparkle as the remaster sounds a tad muddy and is too mid to low-end focused with the treble range dialled back considerably. Perhaps modern listeners and new fans will find it appealing, but it’s as if there’s a light blanket that has been placed over the speakers. Let’s just say that it doesn’t sound like the album I know and love, so I’m sticking with the older mastering.

Hello Hooray is a fantastic opener, even though it wasn’t an Alice Cooper original. It is, however, a cover song of a folk tune that was originally recorded by Judy Collins in 1968. Make no mistake about it, though, the Alice Cooper band recorded it, made it their own, and while it is highly subjective, this is the only version worth listening to.

Raped And Freezin’ is a return to the raw, straight-up rock and roll that the Alice Cooper band were renowned for in their early years. With a playful rhythm, compelling guitar licks, and a cheeky tongue-in-cheek lyrical presentation, this is one catchy and energetic number that makes the album-listening experience all the more pertinent, for Raped And Freezin’ was never destined to be a hit, but as an album-only number, it’s exceptional.

Elected started its life as Reflected on their 1969 debut Pretties For You, and as solid as Reflected is, Elected offers some much-needed spit and polish and is the far better of the two recordings. Fortunately, this reimagined tune, with its satirical take on politics and power, has become one of Alice Cooper’s biggest hits and has remained a mainstay of live performances.

Billion Dollar Babies is a magnificent title track and is one of the greatest songs Alice Cooper ever recorded. That introduction is off-the-charts good, and Alice’s snarling vocals are perfectly positioned against Donovan’s smoother high harmonies. It’s musically sharp and driving, and as the album’s centrepiece, it embodies the record’s theme perfectly.

Unfinished Sweet is a monstrously ambitious number with killer guitar riffs, an addictively good rhythm, and some incredibly pleasing vocals. As a mini rock opera, you’ll find it unsettling, humorous, and endlessly entertaining; unless, of course, you have a fear of the dentist. Nevertheless, from the menacing riffs to the whimsical interludes, Unfinished Sweet is a masterpiece in every sense of the word.

No More Mr. Nice Guy is one of the most enduring tracks on the album, for its irresistible chorus, punchy guitars, and the killer rhythmic backing have ensured that it became a staple of both radio and live performances. Even decades later, it remains one of Cooper’s signature songs.

Generation Landslide is an intriguing addition to the album. With its acoustic textures and biting electric riffs that form the core of what could have been a simple rock tune, the additional production elements result in a dynamic and memorable song.

Sick Things is one of the darkest songs on the album and one of the most sinister in Alice Cooper’s renowned discography. The slow, dirge-like delivery and overall macabre atmosphere is sonically gorgeous with a multi-layered presentation that rewards listeners the more they choose to listen to the album, as Sick Things has so many audible elements you’ll be unpacking them indefinitely.

Mary Ann flows seamlessly from Sick Things, but it couldn’t be more opposite if it tried. The piano-driven style, with Alice adopting a delivery more akin to a Barry Manilow performance, feels as if it would be ideal in any jazz club. It’s a great tune, and as one of the shortest on the record, it offers a curious but charming diversion before merging into one of Alice Cooper’s most controversial songs.

I Love The Dead is the magnum opus of Billion Dollar Babies. With tongue planted firmly in cheek, I Love The Dead will most certainly leave a lasting impression. Yes, it’s both horrifying and absurdly humorous, but it’s musically rich and theatrically encapsulates the shock value and dark humour that has defined Alice Cooper’s entire career. If nothing else, you’ll feel compelled to listen to the album again, for Billion Dollar Babies can seldom be listened to once.

Ultimately, Billion Dollar Babies captures the shock rockers at the peak of their creativity. While their other 1973 release, Muscle Of Love, is one of the finest albums the band ever recorded, it takes second place to this masterpiece, as it stands alongside Love It To Death as the very best from the original band lineup. From the shock theatrics to the biting satire, Billion Dollar Babies is as unsettling as it is irresistible, thereby making it one of the greatest albums in all of recorded music history, particularly in 1973.

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Alice Cooper – The Revenge Of Alice Cooper (Album Review)

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.

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Alice Cooper – Trash (Album Review)

Released in 1989, Trash marked a significant comeback in Alice Cooper’s career, with a shift towards the glam metal sound that dominated the late 80s. Produced by Desmond Child, known for his work with artists like Bon Jovi and Aerosmith, Trash is anything but the literal meaning of the word as the album is presented as a polished and commercially accessible version of Cooper’s signature shock rock style.

As we explore music that resonates with us, it isn’t uncommon to think of the magic as being that of a single entity; in this case Alice Cooper, either the man or the band. The reason we do this is that it allows us to compartmentalise a collection of songs far more succinctly than knowing every person associated with the making of the album. However, when you have such a titanic shift in one’s musical output, it’s worth examining the differences and the first place to look is the production and songwriting teams. In this instance, Child was paramount to the sound of Trash from both the production chair as well as being a co-songwriter on nine out of the ten songs on the album.

As much as I appreciate Cooper’s 80s output, Trash is Cooper’s most polished and radio-friendly album from the era. With its glam metal sheen, anthemic choruses, and slick guitar solos, Trash not only became one of Cooper’s greatest releases, but it would introduce him, or reintroduce him, to a broader audience and subsequent mainstream success. While legacy Cooper enthusiasts may declare that an album such as this was a sellout, there is little doubt as to how important songs such as Poison and Bed Of Nails have been to Cooper’s continued dominance post-1989.

As one of Cooper’s most popular albums, it has seen numerous reissues and I’m incredibly fortunate to own the 2017 Limited Edition, Numbered, Red Transparent Vinyl Reissue. Not only does it look incredible, but it’s a sonic powerhouse. To say it is the very best version of the album I’ve heard, wouldn’t be an understatement. The vinyl is so silent that if you were listening on headphones, you’d have a much better chance of hearing the blood cursing through your veins. Music On Vinyl (MOV) certainly reissued this masterfully with a dynamic presentation and soundstage that is wide and immersive. It’s an experience that needs to be had in person for you’ll find yourself looking in awe as the music emanates from your stereo.

Naturally, Vinyl isn’t for everyone and as it pertains to the CD release, I always found it a little too shrill. It’s a perfect facsimile but you’ll likely want to adjust your tone controls to rein it in slightly. Keeping with the digital formats, the Lossless Apple Music stream, an Apple Digital Master, is a little lacklustre. It doesn’t have the clarity of the CD release or the presence of the vinyl reissue. While saying that it sounds a little flat and lifeless would be an overstatement, the music is somewhat concealed when compared with the album’s physical counterparts.

Of course, if you’re not like me searching for the very best-sounding copy of certain albums, endlessly comparing editions, you’ll likely find the Apple Music stream to be very pleasing. That said, if you find yourself listening to the stream and questioning if it sounds right, then it may be worthwhile exploring other avenues.

Poison is a quintessential 80s rock anthem. Its infectious chorus, driving guitars, and Alice's signature snarl made it a massive hit, so much so that it could be said to be Cooper’s trademark tune. If nothing else, it is the song that he is most well known for and for good reason as it’s exceptional.

Spark In the Dark continues the album’s energetic vibe with catchy hooks and a strong, rhythmic drive. It exemplifies the album's glam metal styling, with layers of guitar riffs and a memorable chorus that will see you not only singing along but playing along via your air guitar.

House of Fire is another high-energy rocker that shines, due in part to its collaborative songwriting between Cooper, Child, and Joan Jett. Add a few killer guitar licks from Joe Perry (Aerosmith) and you’ve got an incredible rock and roll tune with melodic sensibilities.

Why Trust You features a punchy rhythm, aggressive guitar work and Cooper’s gritty vocal delivery. It may not be a standout, but it’s a hidden gem and a perfect album-only tune that works with the flow and overall style of Trash.

Only My Heart Talkin’ flows seamlessly from Why Trust You, before dropping the tempo to that of a power ballad, that features Steven Tyler (Aerosmith) on vocals; a combination that works exceedingly well. The collaboration between these two amazing vocalists, along with the ballad focus, ensures the song has emotional depth and a melodic structure that provides contrast to the heavier tracks thereby showcasing Cooper’s versatility.

Bed of Nails co-written with Cooper, Child, and Diane Warren is a perfect blend of hard rock and pop sensibilities. Its anthemic quality and catchy chorus make it a standout track and was mildly successful when released as a single. Although, if you ask me, Bed Of Nails is so good that it should have topped the charts, worldwide, in 1989.

This Maniac's In Love With You is 80s music 101 with its playful lyrics and upbeat tempo. While much of the focus of Trash is the album’s glam metal aspects, This Maniac’s In Love With You is a reminder of Cooper's roots in shock rock and performance art; one that tips the hat to his late 70s and early 80s releases. As a fan of that era, especially two of his blackout albums (Zipper Catches Skin [1982] and DaDa [1983]), This Maniac's In Love With You is, subsequently, one of my favourite songs from the album and is a genuine hidden gem for those not familiar with the record.

Trash is a rebellious high-energy number with a raw edge. Despite being the title track, it isn’t the strongest song and one that, while I can appreciate it, simply doesn’t meld with my soul. Jon Bon Jovi’s vocals don’t work as well on this track as Steven Tyler’s did on Only My Heart Talkin’ plus the lineup of guest musicians, including Tom Hamilton and Joey Kramer (both of Aerosmith fame) adds to a confusing mismatch. It just goes to prove that no matter how many talented musicians get together, if they aren’t on the same page, creatively, you’ll end up with a song that fails to impress.

Hell Is Living Without You is a magnificent tune with a moodier and slower tempo. When I consider Trash to be one of the greatest albums released in 1989, it’s songs such as Hell Is Living Without You that I think of for it’s a masterpiece.

I'm Your Gun closes the album out with a bang, but I really wish the album had been re-tracked to have this song positioned prior to Hell Is Living Without You as I feel the previous track would have been a much stronger closer for the album. Nevertheless, this fast-paced rocker with aggressive guitar riffs and an unapologetically bold attitude is a fitting end to an album full of high-energy tunes.

Overall, Trash is a landmark album in Alice Cooper’s career, blending his iconic shock rock style with the glam metal sound of the late 80s. With memorable hits, expert production, and Cooper’s charismatic performance style, this album stands as a testament to his adaptability and enduring appeal. Whether you’re a long-time fan or new to his music, Trash offers music lovers a thrilling and enjoyable listening experience.

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