Welcome 2 My Nightmare
Release Date: September 13, 2011
Highest US Chart: #22
Tracks: I Am Made of You * Caffeine * The Nightmare Returns * A Runaway Train * The Last Man on Earth * The Congregation * I'll Bite Your Face Off * Disco Bloodbath Boogie Fever * Ghouls Gone Wild * Something to Remember Me By * When Hell Comes Home * What Baby Wants * I Gotta Get Outta Here * The Underture (Instrumental)
Flush off being named to the Rock and Roll HOF, Alice released a sequel to one of his classics. As with the original, “Welcome 2” follows the character Steven as he goes from dream to dream. The CD also sees Coop reunited with producer Bob Ezrin, and his former bandmates (on 3 numbers).
Flush off being named to the Rock and Roll HOF, Alice released a sequel to one of his classics. As with the original, “Welcome 2” follows the character Steven as he goes from dream to dream. The CD also sees Coop reunited with producer Bob Ezrin, and his former bandmates (on 3 numbers).
"I Am Made of You" leads off the nightmare, with Alice playing around with auto-tune, and I was okay with that - it sounds good and adds a haunting, disjointed vibe to the song. Bottom line, it’s a great number, one of Alice’s best. Also - the piece opens with a piano riff borrowed from "Steven" (which will return in other tracks and is the binding thread to the first LP).
From here Bob and AC record a wide variety of styles and sounds, and as with recent AC releases, he draws from other artists. There’s a tune that has some Beatles, another that’s pure Tom Waits (the ear catching “Last Man on Earth”), you can hear the Stones "Brown Sugar" and a little of Michael Jackson’s "Beat It" sprinkled throughout. Somehow though, all this theft - or homages? - work.
Original bandmates, Michael Bruce, Dennis Dunaway and Neal Smith play on the crunchier numbers ("A Runaway Train", "I'll Bite Your Face Off" and "When Hell Comes Home") and prove they can rock as hard as they did in the 70s. Most notable for me, is When Hell Comes Home. This is a grinding, bluesy tune about an abusive husband and father – the lyrics are as dark as anything AC has done, and the lead guitar echoes one of the bands classics, "Dead Babies".
Cooper the clown also shows up in Disco Boogie Bloodbath Fever. Believe it or not, Alice raps - it’s a funny track – unfortunately he goes to this well once too often and follows up this novelty with another, a 50’s parody, "Ghouls Gone Wild". It’s not a horrible tune, but it is the weakest of the bunch. After this we get the ballad (had to have a ballad, didn't we?) but this one is special as it was co-written with Dick Wagner back in the 70s, and while Something to Remember Me By, is no "Only Women Bleed", it’s pleasant enough and does kindle the nostalgic glow I'm getting from this CD.
The album bursts back to life with 3 strong numbers, and a closing melody (The Underture). Among these 4, there is the (apparently) strange paring of AC with Ke$ha on "What Baby Wants". This duet furrowed some brows; but being old and having no idea who Ke$ha was, I judged it on what I heard, which was wicked, rockin' fun - and K does a great job playing the devil's daughter.
Other guests on the album include Steve Hunter and Dick Wagner, who played on the original Welcome. And country artist Vince Gill, who can be heard on 2 numbers and shows that he’s a kick-ass rock lead guitarist!
All told, while it doesn't surpass the first Welcome, it's a worthy follow up - a most excellent and entertaining listen (it also served to restore my faith in Coop as a viable musical force, after the discouraging “Along Came a Spider” crushed that faith to a fine powder).
Note: The release came in several editions, with differing bonus tracks, including "A Bad Situation", "Flatline", a cover of "We Gotta Get Out of This Place", and my favorite of the bunch, "Under the Bed".
Purchases: Original CD release, iTunes
🐍🐍🐍🐍½
Paranormal
Release Date: July 28, 2017
Highest US Chart: #32 (Top 200) - #6 (Top Album Sales)
Tracks: Paranormal * Dead Flies * Fireball * Paranoiac Personality * Fallen in Love * Dynamite Road * Private Public Breakdown * Holy Water * Rats * The Sound of A * Bonus Tracks: Genuine American Girl * You and All of Your Friends
It opens with a memorable ghost story that gives us a taste of spooky 70s-style Alice, and continues with a collection of bleak, but sonic rock, infused with tales of apocalyptic disaster, loss of privacy, and other modern nightmares, like our addiction to technology that feeds us lie after lie (the wicked, blues flavored, "Dead Flies", with its Hendrix-like guitar-work from Henriksen and Denander) and poisons us with fear (the exceptional "Paranoiac Personality").
Coop balances that by retaining his sense of humor and injecting a certain playfulness (titles to past songs pepper the lyrics). And in "Holy Water", we get a hand raising, baptismal psalm that celebrates his faith and the transformative effect it had on his life, so yes, there are shafts of light and joy amidst the fire and brimstone.
Musical guests include Roger Glover (co-writer and bassist on "Paranormal"), ZZ Top's Billy Gibson, laying down a tasty riff on "Fallen in Love", and U2s Larry Mullen Jr. delivering his unique brand of drumming (recruited on Ezrin's suggestion [1], he absolutely kills on "Paranoiac Personality" & "Holy Water").
Among my favorites are the numbers written and/or performed with surviving members of the classic Alice Cooper group. As musicians, they tear it up on the bar-room rocker, "Rats", and contributing as songwriters as well as bandmates, their 2 bonus tracks are fun and catchy, especially the gender bending Genuine American Girl, which closes on a cool cascading baseline (a nod to the one heard on "Elected" perhaps?)
Dunaway also co-wrote the scorching "Fireball", and a blast from the past from 1967, "The Sound of A". In interviews and podcasts, Dennis revealed that Alice wrote "A" at around the same time he came up with Shoe Salesman and Laughing at Me (using Neal's nylon string guitar). And that it would have been part of a futuristic concept album, about a sound that could control people's minds. Dennis still had the music, and the notes Cooper wrote about the idea, he then filled in what he thought would have been the intended lyrics and presented it to Bob and Alice - and what a welcome addition. The press release sums it up nicely... "With its psychedelic sound, swirling guitars and the mysterious Hammond organ, it is one of the most hypnotic songs on “Paranormal”". For sure, and it allows the disc to come full circle, opening with scary Alice and closing on 60s psychedelic Alice.
There's seriously not a bad song on this CD, I'm entertained and enthralled from the very first note, on through the bonus material, which includes 6 classic songs performed live in Columbus, Ohio.
Note: In 2014 Billboard altered its charts - The Top 200 now incorporates streaming and an album-equivalent unit. They added a new "Top Album Sales Chart" to reflect physical sales (CD, Vinyl and Digital purchases). I'll be including both from here on out.
Purchases: Original CD release (with free MP3), iTunes
🐍🐍🐍🐍
Detroit Stories
Release Date: February 26, 2021
Highest US Chart: #47 (Top 200) - #1 (Top Album Sales)
Tracks: Rock and Roll * Go Man Go * Our Love Will Change the World * Social Debris * $1000 High Heel Shoes * Hail Mary * Detroit City 2021 * Drunk and in Love * Independence Dave * I Hate You * Wonderful World * Sister Anne * Hanging on by a Thread * Shut Up and Rock * East Side Story
I like the concept, which attempts to get Alice back to his roots by taking a nostalgic trip through his musical origins and Detroit rock history - via cover songs - by capturing that 'motor-city' aesthetic in all its glory (from proto-punk, to soul, and all points in between) - and by including artists, either as name drops or contributors; like the legendary Johnny "Bee" Badanjek, who smokes on drums, and MC5 guitarist Wayne Karmer (co-writer of 2 goodies, "Go Man Go" and "$1000 High Heel Shoes", as well as the okay, "Independence Dave").
I like the concept, which attempts to get Alice back to his roots by taking a nostalgic trip through his musical origins and Detroit rock history - via cover songs - by capturing that 'motor-city' aesthetic in all its glory (from proto-punk, to soul, and all points in between) - and by including artists, either as name drops or contributors; like the legendary Johnny "Bee" Badanjek, who smokes on drums, and MC5 guitarist Wayne Karmer (co-writer of 2 goodies, "Go Man Go" and "$1000 High Heel Shoes", as well as the okay, "Independence Dave").
Of the covers, Outrageous Cherry's "Our Love Will Change the World" is a fave, it's upbeat, catchy pop, married to conflicting lyrics (sounding like a pessimistic downer, before shifting to the positive chorus, which actually comes off more a threat than an invitation to a love-in). AC and the band also do nice work on the MC5s "Sister Anne" (with Coop on harp) and Seger's "East Side Story".
Of the stand-out originals there's "Hail Mary" and "Wonderful World" (one that detours from Detroit, to make comment on civilization, Brutal Planet style). "I Hate You" is a curious attempt by the surviving, original trio to get some personal issues off their chests by insulting one another. I also liked "Social Debris" written with drummer Neal Smith, it's got that 70s 'bloody your nose' attitude and according to Alice was about the band being outsiders (though it's filtered through a modern lens).
Not everything works - "Hanging on by a Thread (Don't Give Up)" was written to raise morale during the pandemic, and while well intended, it's a little corny. Still, despite a hiccup or two (I have to be in the right mood for Drunk & Dave) the CD delivers the kind of blistering hook filled rock I crave. It's a ready, steady, energetic way to usher in Alice's 6th decade as a recording artist.
Note 1: The vocals on I Hate You go from Neal (to Dennis), Mike (to Neal), Dennis (to Alice), Alice (to Mike) - and on the last verse it's Dennis, Alice, Neal, then Mike and finally, all
Note 2: On September 13th, 2019, "Breadcrumbs", a 6 track EP was released. It included tunes that would find their way on this album (Detroit City, Go Man Go, East Side Story and Sister Ann), as well as a couple that didn't - a m'eh take on Devil with The Blue Dress On/Chains of Love and a nice cover of Suzi Quatro's Your Mama Won't Like Me.
Purchases: Original CD release (with free MP3).
🐍🐍🐍½
🐍🐍🐍½
Road
Release Date: August 25, 2023
Highest US Chart: #160 (Top 200) - #11 (Top Album Sales)
Tracks: I'm Alice * Welcome to The Show * All Over the World * Dead Don't Dance * Go Away * White Line Frankenstein * Big Boots * Rules of The Road * The Big Goodbye * Road Rats Forever * Baby Please Don't Go * 100 More Miles * Magic Bus
A concept album about life on the road, recorded with his touring band (guitarists Nita Strauss, Ryan Roxie and Tommy Henriksen, bassist Chuck Garric and drummer Glen Sobel) and while they are a tight unit, they weren't really let off the chain and allowed to distinguish themselves from what we've heard in the past 2 releases (bummer then that the drum solo in the lackluster Magic Bus, detracts). The rhythm section provides a solid foundation, but the leads were standard fare - no riffs reach the levels of a "School's Out" or "Poison" (or "Fallen in Love" for that matter), the type that instantly leave an impression.
And alas, the songwriting can be problematic, with some iffy choruses and lyrics, the worst culprit being the cringy "Big Boots", which, along with "Rules of the Road", are the bad apples in this barrel.
The release does start off nicely; "I'm Alice" revels in his reputation as the father of shock; "Welcome to the Show" is a forceful rocker with fun backing vox. I was near to thinking this could be on par with Detroit Stories, when the wheels came off the bus - there was just, something off, like the chorus and content (about a stalker) on "Go Away", marring the tune in whole - and the downward slide worsens with 6, 7 & 8. (Frankenstein's chorus reminds me of "Cherry Pie", and cripes, I hate Warrant).
"The Big Goodbye", with its chugging guitars and catchy pre-chorus, gets the disc rolling again, and though it's never been a favorite, "Road Rats Forever" is better here than on L&W, if only because it's not so plastic 'n' overproduced. However, it wasn't until the end that I found 2 that made me euphoric. "Baby Please Don't Go" and "100 More Miles" display a musical maturity and aren't as corny word-wise. While "Miles" has a ghostly ambiance in its opening notes, there's a heaviness, an appropriate exhaustion in the vocals as at plays (though I wish it was a bit longer - that Alice & Bob had exploited that emotion and let the band cook). "Baby's" mid-tempo strumming supports lyrics that are heartfelt, refreshingly quip free, and felt like truth (akin to Kiss's "Beth", but as written by 60s-era Sonny Bono). Both were welcome palate cleansers to the excruciating idiocy of things like Boots and Rules.
The scorecard? There are 2 that I like, and 2 that I worship, with 3 that are fine but not amazeballs (3, 4 & 9). That leaves me 6 I'll skip (5, 6, 7, 8, 10 and 13), which turns my LP into a passable EP.
Note: In "Road Rats", a change in the lyrics includes a title-drop - "Love it to Death", it's just one of several nods to the past - In fact, a song from that one, "I'm 18", is also quoted ("like it, love it", in "All Over the World")
Note 2: One edition of the release includes the Blu-Ray, "Live at Hellfest 2022".
Purchases: iTunes
10 Highest Charting Studio Albums
A concept album about life on the road, recorded with his touring band (guitarists Nita Strauss, Ryan Roxie and Tommy Henriksen, bassist Chuck Garric and drummer Glen Sobel) and while they are a tight unit, they weren't really let off the chain and allowed to distinguish themselves from what we've heard in the past 2 releases (bummer then that the drum solo in the lackluster Magic Bus, detracts). The rhythm section provides a solid foundation, but the leads were standard fare - no riffs reach the levels of a "School's Out" or "Poison" (or "Fallen in Love" for that matter), the type that instantly leave an impression.
And alas, the songwriting can be problematic, with some iffy choruses and lyrics, the worst culprit being the cringy "Big Boots", which, along with "Rules of the Road", are the bad apples in this barrel.
The release does start off nicely; "I'm Alice" revels in his reputation as the father of shock; "Welcome to the Show" is a forceful rocker with fun backing vox. I was near to thinking this could be on par with Detroit Stories, when the wheels came off the bus - there was just, something off, like the chorus and content (about a stalker) on "Go Away", marring the tune in whole - and the downward slide worsens with 6, 7 & 8. (Frankenstein's chorus reminds me of "Cherry Pie", and cripes, I hate Warrant).
"The Big Goodbye", with its chugging guitars and catchy pre-chorus, gets the disc rolling again, and though it's never been a favorite, "Road Rats Forever" is better here than on L&W, if only because it's not so plastic 'n' overproduced. However, it wasn't until the end that I found 2 that made me euphoric. "Baby Please Don't Go" and "100 More Miles" display a musical maturity and aren't as corny word-wise. While "Miles" has a ghostly ambiance in its opening notes, there's a heaviness, an appropriate exhaustion in the vocals as at plays (though I wish it was a bit longer - that Alice & Bob had exploited that emotion and let the band cook). "Baby's" mid-tempo strumming supports lyrics that are heartfelt, refreshingly quip free, and felt like truth (akin to Kiss's "Beth", but as written by 60s-era Sonny Bono). Both were welcome palate cleansers to the excruciating idiocy of things like Boots and Rules.
The scorecard? There are 2 that I like, and 2 that I worship, with 3 that are fine but not amazeballs (3, 4 & 9). That leaves me 6 I'll skip (5, 6, 7, 8, 10 and 13), which turns my LP into a passable EP.
Note: In "Road Rats", a change in the lyrics includes a title-drop - "Love it to Death", it's just one of several nods to the past - In fact, a song from that one, "I'm 18", is also quoted ("like it, love it", in "All Over the World")
Note 2: One edition of the release includes the Blu-Ray, "Live at Hellfest 2022".
Purchases: iTunes
🐍🐍½
Untitled 30th Release
Release Date: TBA
Highest US Chart: TBA
Tracks: TBA
Over a decade ago I had the thought, "Wouldn't it be nice to see Alice reach 30 studio releases?" I wasn't sure it would happen what with those extended gaps between LPs (6 years from Temptation to Planet, for one), but lo and behold, it's coming - and even better, it looks to be a full-out original band reunion! (Michael Bruce spilled the beans in an interview, and in his introduction video for the Arizona Music & Entertainment HOF ceremonies). While I'll try not to let my expectations go wild, I can't help but think of Bruce's "When Hell Comes Home", Dunaway's "Fireball" and Smith's "Social Debris", and how they were among the finest tracks of the past 3 CDs (before Road) - so, yeah, it's difficult not to get excited about this. If they can reach those highs, it'll be a hell of an album.
Purchases: TBA
Alice on the Screen: In 2012 Alice played the 1970s version of himself (with look-a-likes standing in for the band) in the comedy "Dark Shadows", where he performed a bit of Dwight Fry and No More Mr. Nice Guy. He was also in the no-budget Asylum flick, "Bigfoot", where he earned a few laughs, "What is this, a hootenanny!?"
And on April 1st, 2018, Coop took on the role of King Harod in NBC’s live televised adaptation of Jesus Christ Superstar.
In October 2021 Alice narrated his life story in a piece titled, Who I really Am: Diary of a Vampire on audible.com. Coop is a great storyteller, and for added coolness were several acoustic versions of classic AC tunes.
1. Billion Dollar Babies #1 (1973)
2. Schools Out #2 (1972)
3. Welcome to My Nightmare #5 (1975)
4. Muscle of Love #10 (1973)
5. Trash #20 (1989)
6. Killer #21 (1971)
7. Welcome 2 My Nightmare #22 (2011)
8. Alice Cooper Goes to Hell #27 (1976)
9. Paranormal #32 (2017) - altered Top 200
10. Love it to Death #35 (1971)
