Tag Archives: Alice Cooper

JC Superstar or: Dixon Does It

05 Thursday Apr 2018

Posted by in Life as We Know It, Music Review

≈ Leave a comment

Tags

, , , , , , , , , , , , , , , , , , , , , , , , , , ,

Salutations™!!

This past Sunday was Easter and NBC presented a live version of the Andrew Lloyd Webber/Tim Rice masterpiece, Jesus Christ Superstar. And, I must say that I thought it was brilliant. In many ways, at least to me, it was superior to other versions. Not in all but there were several ways.

norm-lewis-jesus-christ-superstar

Norm Lewis as Caiaphas (©NBC)

 

John Legend has a great voice and I think he did a fine job singing. His acting was suspect, but he’s never been known as an actor. Some questioned casting him. Not me, I think it was an admirable job. Now, it is totally my belief that this story, despite its name, isn’t about Jesus. I think it’s about Judas. In all the versions I have heard and/or seen, Judas always outdoes Jesus. But, back to Jesus, John Legend did great but he comes in third in my rating behind Ted Neeley and Ian Gillan in that order, although Ted and Ian can alternate depending on my mood.

Like I said, the true star of this show was Judas and in such, Brandon Victor Dixon played a fantastic Judas. His voice was powerful and his range wide. There was a time toward the end that he was seemingly struggling to hit some notes but he still hit them. I’ve only seen the film and heard the Original UK Recording so those folk had time between performances. This was all in one. Dixon killed. He had emotion, passion (pun!), discourse, regret and power in the part. I’m rating him tied for first with both Carl Anderson and Murray Head. Judas is my favorite character and I have really loved each performance, each for different reasons.

Another of my favorite characters in the story is Caiaphas, played by Norm Lewis in this production. I think Lewis had the best voice of the three (Victor Brox in the UK and Bob Bingham in the film). He kept the low growly parts rough and the higher baritone parts smooth. And, dang! I want those cloaks the Pharisees/Sanhedrin wore. Those looked cool as heck. Lewis’ hairstyle was soooo the part, too. He made the part cool, for sure. Again, he wins as best.

Another star of this show that didn’t get enough respect in the reviews that I read was Jin Ha who played Annas another of the Sanhedrin. His register was spot on and he really captured the spirit of the part. I think his voice is better than both Brian Keith (UK) and Kurt Yaghjian (film). He, too, looked cool in the Sanhedrin cloak.

I don’t think the performances of John Gustafson (UK) and Larry Marshall (film) were all in your face, but the portrayal of Simon Zealotes by Erik Grönwall is quite memorable. It could be the half-shaved head with the geometric tattoos or the over-the-top performance or that strong high-pitched voice. Who knows, but Grönwall knocks it out of the park. Grönwall won the 2009 Swedish Idol contest. He’s also in a hard rock band over in Sweden. Interesting dude and a great high voice.

Ben Daniels’ Pontius Pilate was a cool character. His costume was top-notch and his performance went along with that. I don’t know if it was just out of his range or he was just playing the part but at the end of his trial (and the 39 lashes) his voice gets disheveled, shaky and “weak.” I would like to think that the character’s urgent circumstance led to the frazzled sounds coming from his mouth. Both the UK and film versions were played by Barry Dennen. I think Daniels was the best of the two, although I do dig his version of “Pilate and Christ.”

King Herod and “King Herod’s Song” are one of my favorite character/song combos in this story. The incomparable Alice Cooper played Herod in this production. Former lead singer of Manfred Mann, Mike d’Abo played the part in the UK version and Josh Mostel (son of famous Broadway/film actor, Zero Mostel) is in the film. I loved Alice’s performance, but he takes the passenger seat compared to Mostel’s. His floaty/flighty performance in the film was so much fun.

I’ve saved Mary Magdalene for last. As much as I loved what Yvonne Elliman did in both the UK and film versions, Sara Bareilles tore them up. I think she looked the part, played the part and sounded the part, each by 1000. Mary isn’t one of my favorite characters in the story but she plays the “innocent resignation” quite well. “Everything’s Alright” has been stuck in my head since Sunday. Bareilles’s version in particular. It was great.

The chorus and extras were all where they needed to be and the story was updated for 2018 as opposed to 33 CE/AD/etc. It was more street and less ancient. The orchestra was great. The young guitarist that started the show was quite awesome. The costumes and some of the set design/work was done in part by UNCSA alumni. It was visually stunning.

Now, not everything was great. I loved that they had the audience but the audience was a bit overly enthusiastic. Every time someone would sing, they’d go crazy. It was great but every breath didn’t need to be applauded. The sound mixing was a bit off, at least in the beginning. You could hear a lot of the music but not so much of the singing; it was spotty and patchy. Later in the show that straightened itself out.

I did like the “during the commercial” spycam of backstage and even front of the house while the commercial breaks happened. That was good.

All in all, I loved this version. I have watched it twice. I have recently watched the film again and I’ve listened to the film soundtrack no less than four times since Sunday (including once today). I think this set the standard for the live musicals if NBC is going to continue to do it. They teased Wicked which is my favorite Musical Theatre show during this, I wonder if that’s next? We’ll see. I think most of the reviews were positive and I definitely give this a 4.5 out of 5 on it. I hope they do more of it. I miss going to Charlotte for the Broadway Lights series. Great stuff. Now, where’s the remote? I have another watch in me.

Until tomorrow, same blog channel…
Scorp out!

—
“So, you are the Christ, you’re the great Jesus Christ? Prove to me that you’re divine; change my water into wine. That’s all you need do, then I’ll know it’s all true. Come on, King of the Jews.” – “King Herod’s Song (Try It and See)” (Webber/Rice)

Forty-Two On or: Destroyer

15 Thursday Mar 2018

Posted by in Music Review

≈ Leave a comment

Tags

, , , , , , , , , , , , , , , , , ,

Salutations™!!

Forty-two years ago today, March 15, 1976, the fourth KISS studio album, Destroyer was released. Destroyer was the immediate follow-up to Alive which, thanks to “Rock and Roll All Nite,” really broke KISS into popularity.

200px-Kiss_destroyer_album_cover

©Casablanca

 

Their first three studio albums did absolutely nothing and were released within 13 months. They tried one after the other and no luck. This album was released two years after the first album.

People had heard rumors that this band KISS put on makeup and were rocking so hard that their live shows were going great. But, bands (and record labels) want to sell records. The release of Alive brought them to the radio. Fans then went back and bought up the first three albums, which made up the contents of Alive.

So, here they were recording a follow-up album. The record company brought in Bob Ezrin, best known at the time, for producing Alice Cooper. Ezrin brought string arrangements, choirs, and special effects. KISS was just straightforward Gibsons and Marshalls at that time. Fans were expecting the same hard rock pizzazz that KISS, Hotter Than Hell and Dressed To Kill had. They got that, kind of…

The strings and acoustic guitars, pianos and choirs kind of threw people off. Not in a bad way, mind you, just perplexingly. It wasn’t expected. And, really, that wasn’t something that happened on a full-blown KISS album again until 1981. The solo albums had some hints of it but, again, full-blown KISS albums.

The album starts off with someone washing dishes and listening to or watching a news report about someone dying in an auto accident. It was the intro to “Detroit Rock City,” which was based on a true story about someone who died on their way to a KISS concert in Charlotte. But, Charlotte Rock City doesn’t have the same ring to it. DRC was a song that I got really tired of really quickly. I got to where it turned my stomach to hear it. It was just overdone and I didn’t really care much about it. I will say the solo was awesome, which was arranged by Ezrin. I have come back around and now don’t mind hearing it again. I don’t know why.

The crash then goes into “King of the Night Time World,” a song about a youth having troubles at home and wanting to make it with his girl (“… and the dirty things that we do”). That song grew on me later, as well. I really didn’t pay much attention to it until the band I was in, Heavens Sake, learned it and played it live.

Third, is my favorite song from the album and one of my all-time KISS songs all around – “God of Thunder.” It is Gene Simmons, even though he didn’t write the song. Paul Stanley did. But, Ezrin thought the theme and progression were better suited for Gene’s darker character, so he slowed it down and turned it over to Gene. Starting off with Ezrin’s kids playing in the studio, they were wearing some space helmets with walkie-talkies in them. What they actually say has been debated for 42 years and even David and Josh Ezrin don’t know what they said. I’ve always thought they said, “okay… talk sexy.” Who knows? Anywhat! I have always loved singing this, which I did for the VSS show a few years back and playing it with Heavens Sake. The darkness of the song is amazing. Lots of crackles, feedback, screaming, moaning and wasteland effects. I love the song. Gene usually does his blood spitting at the beginning of this tune.

All that was well and good. Great hard-rocking tunes. Then it happened. The strings. The acoustic guitar. The odd lyrics and (gasp!!!) the Brooklyn Boys Chorus singing about getting a girl horny. “Great Expectations” was a drastic turn of events. Part of the compositional theme of the song was based on Beethoven’s “Sonata Pathétique,” and I find that pretty cool. Now, I dig the song; like it, in fact. But, it threw people for sure. After a few listens, it grows on you and it’s a pretty cool song. Odd… but cool. End Side 1.

Side Two starts with some rock and roll rebellion going on. Paul wrote two songs about breaking out and being free of the parental grasp on this album. Well, three really. I know that rock and roll was about rebellion and they took this to heart in the song, “Flaming Youth.” I mean, could it be more obvious? “My parents think I’m crazy and they hate the things I do. I’m stupid and I’m lazy, man, if they only knew. How flaming youth will set the world on fire. Flaming youth, our flag is flying higher and higher and higher.” Yeah, rebellion. The song was an amalgamation of ideas from Gene, Paul and Ace Frehley, with Ezrin taking them and embellishing them. I really dig this tune.

“Sweet Pain” is up next and it’s quintessential Gene and his horndog-laden love god persona. Ain’t no one can love you like me and my BDSM loving arse is basically the theme. I’ll love you so much it will hurt. And, he’ll do it while wearing leather and using whips. Isn’t that sweet? Yeah, sweet pain, from what I hear. I didn’t understand most of that when I was a kid but I find it funny now. Gene was what? 26 when they released this? Yeah. Horndog. And, I love it.

The third “break out and be something/do something song” was a bit of a smash from the album and a live staple for many years to come. “Shout It Out Loud” was co-written by  Stanley, Simmons and Ezrin. If it’s too loud they’re too old. Shouting it out loud is basically the cheerleading call-to-action of the rockin’ world. That’s what they want you to do. They took the title from the Hollies tune “We Want to Shout It Out Loud.” Wicked Lester recorded that when Gene and Paul were in that band. I got to do the Gene lines with my pal Reid Mansell at the VSS show.

“Beth” was a surprise. It was filler. It was a throw-away. They recorded it to appease Peter’s itch to have a song with his name on it. That may not be the official story but from what I’ve read between the lines over the years, yeah… It was the B-side of “Detroit Rock City” and was left to its (presumed) fate of filler. But, something happened. Something that I don’t know what really common at the time, DJs started flipping the record over and playing “Beth” instead of “DRC.” It still sits as the highest charting song in KISStory, at #7, one place higher than “Forever” which came 14 years later. I like the tune. I prefer the Eric Carr version on the greatest hits album, Smashes Thrashes and Hits in 1988, but this is classic.

The album closes with “Do You Love Me.” It’s a tune about the glitzy lifestyle of the rockstar and the potential gold-digging girlfriend who may or may not really like the singer; she may just be using him to get the status, attend the parties, get the backstage passes, limousine rides and so on. It’s sad really. That is unless Paul’s character in the song was getting what he wanted out of it. But, if he was, would he need to ask if she loves him? Probably not. That song became a concert staple. It then fades into some weird effected thing where you hear Paul doing banter from Dressed to Kill/Alive tour about a “rock and roll party.” I never felt it was necessary but I didn’t hate it.

I wasn’t into KISS or even know about them, until around 1977/78 and I never had this on vinyl as a kid. I did get it on cassette when I moved to WSNC and I definitely got it on CD and then the remastered CDs. I got it the vinyl remasters on 180g black vinyl that has all the original packaging and all.

I do have the remixed copy of Destroyer: Resurrected that Ezrin remixed and re-EQed the songs while adding some elements that had been left out. The original Ace solos (which were originally Dick Wagner of Alice Cooper’s band in the release) for a couple of songs and added some additional vocals to a few songs. Ace was part of stuff from this album but he was starting to flake a bit. That’s why Wagner did his thing.

The cover was painted by sci-fi/fantasy artist Ken Kelly (who also did the Love Gun cover) and it depicts a true wasteland with burning buildings and barren, burning land. It showed the band as larger-than-life characters that were destroying the world around them.

I don’t know why the album was called Destroyer other than it goes with the God of Thunder theme. I don’t know and I don’t care. It’s a great album. To me, there’s not a filler on there. It is #489 on the RS list I’m always talking about. It isn’t my favorite KISS album but I’d say it’s in the top 10. One day I really need to rank them. I’ll do a post on that when I do.

Have you listened to this album, Dear Reader? What did you think? Tell me about it, I’m truly interested. If you haven’t check it out on your favorite streaming service and if you like it, consider purchasing it. It sounds great on vinyl, but I’m biased. Rock on, Destroyer!

Until tomorrow, same blog channel…
Scorp out!

—
“I’m the lord of the wastelands. A modern day man of steel. I gather darkness to please me and I command you to kneel before the… God of Thunder and Rock and Roll. The spell you’re under will slowly rob you of your virgin soul.” – “God of Thunder” (Stanley)

Silent Sunday or: The Haul 11/18/17

19 Sunday Nov 2017

Posted by in Records, Silent Sunday

≈ Leave a comment

Tags

, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Salutations™!!StreetSurvivorsFlames

So this week will be a mixture of the take from Underdog Records and a shload of records that I didn’t know that I owned. Let me explain. About 10 years ago, my ex-wife and my mother went to an auction (they were always going to auctions) and purchased a ton of records. They only wanted to rock records but it was one of those, you take one you have to take the whole thing deals. Well, I didn’t have a record player back then. So they got stored. And, I forgot about them. About 3 weeks ago, my ex-wife asked me if I got the ones out of the cabin. What are you talking about? We didn’t have any in the cabin. She informed me that yes we did. I thought perhaps it was one or two things that I had over time. Well, I had to go in the attic with my mother and she said, there are your records. I was looking through and just like a kid, kept saying these are mine!?!? So, I brought them home and am going through them a little at a time. Many rock albums to add to my collection and a lot of jazz, folk and classical, too. I did the rock ones first. Again, these are mixed here.

This is the Bonus Stack below the line

So, that’s a lot and that’s only the rock and few that The BCPF wanted to listen to. I have at least 50 more to put in that are of all other genres. This coming Friday is Black Friday and Underdog Records will have a ton of awesomeness for Record Store Day – Black Friday Edition. Go to the RSD website to find out what is coming. Jonathan said he’s stocking 90% of that list, so make plans now. And buy a gift certificate for someone, do it now and get an additional 10% added for no additional cost. And as you can see, we do a lot of cataloging with Discogs and we love it!

And RIP not only to Malcolm Young, but Mel Tillis passed away, too. RIP Mel.

Until tomorrow, same blog channel…
Scorp out!

—
“Heaven. Heaven is a place. A place where nothing. Nothing ever happens.” – “Heaven” (Byrne)

Silent Sunday or: The Haul 10/7/17

08 Sunday Oct 2017

Posted by in Records, Silent Sunday

≈ Leave a comment

Tags

, , , , , , , , , , , , , , , , , , , , , ,

Salutations™!!

The BCPF and I had a great day yesterday and that included a great haul from Underdog Records. The quantity was lower than normal but the quality was dyn-o-mite! So, let’s not even wait:

MI0001521238

©Virgin Records

 

So, as you can see, it’s not a long list today but we really enjoyed the haul. Jonathan is always getting in, cleaning and putting out new used inventory and every day is a new adventure in Underdog Records. Records have become one of my new passions (along with cooking) and I love listening to them. I hear things on albums I’ve owned on CD for years that I never even knew existed. Good stuff, indeed. Also, not to throw in a shameless plug for The Less Desirables, but there is a weekly Underdog Records/TLD special, every week. To hear what that special is, you have to listen to TLD to find out. Sneaky, I know, but hey, it’s my job (literally). I also keep all my personal collection logged into Discogs.

Until tomorrow, same blog channel…
Scorp out!

—
“Eleanor Rigby picks up the rice in the church where a wedding has been. Lives in a dream. Waits at the window, wearing the face that she keeps in a jar by the door. Who is it for? All the lonely people. Where do they all come from? All the lonely people. Where do they all belong?” – “Eleanor Rigby” (Lennon/McCartney)

Silent Sunday or: The Haul 9/23/17

24 Sunday Sep 2017

Posted by in Records, Silent Sunday

≈ Leave a comment

Tags

, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Salutations™!!

The BCPF and I were able to get to Underdog Records fairly early, thanks to getting up and walking our butts off ahead of our regular schedule. We saw only one of our regular crowd, but I chalk that up to the earlier time and the fact that Fiesta 2017 was right up the street. The haul was modest but we got some great stuff!Lick_it_up_cover

There’s also an album that we got yesterday that wasn’t in Discogs. It’s all in German so it may take me a bit to put that in. If you’re looking for something and don’t see it in Underdog Records, Jonathan can special order it for you. You can also make purchases online via their website, including preorders. Listen to The Less Desirables to hear the weekly Underdog/TLD special. Obviously, I use Discogs to document, archive and keep track of my collection. You should, too.

Until tomorrow, same blog channel…
Scorp out!

—
“Well, I keep on thinking about you, Sister Golden Hair surprise. And I just can’t live without you; can’t you see it in my eyes? I’ve been one poor correspondent, and I’ve been too, too hard to find. But it doesn’t mean you ain’t been on my mind. Will you meet me in the middle, will you meet me in the air? Will you love me just a little, just enough to show you care? Well, I tried to fake it, I don’t mind sayin’, I just can’t make it.” – “Sister Golden Hair” (Beckley)

Silent Sunday or: The Haul 8/12/17

13 Sunday Aug 2017

Posted by in Records, Silent Sunday

≈ Leave a comment

Tags

, , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Salutations™!!

The haul from Underdog Records was pretty cool. We got good stuff and I got to converse with several people from our “#nowspinning” Facebook group and even met someone who was just added while we stood in the store. I love that group. I love the “family” and record support we have. Always something interesting and many times something we forgot about or didn’t know was available or we’re just dying to have. It’s just so much fun. Yeah, I’m a nerd and I don’t care. I also got to chat with my buddy Ed Bumgardner for a few minutes, as well. Always cool. Anywhat! Here’s the haul:

R-10598429-1500669931-4421.jpeg

©Warner Bros. Records

 

And there you have it. Underdog Records has all your vinyl (and the players to play them) needs covered. If you are a customer of Underdog or are into vinyl at all, look for the Facebook group and join us. It’s a fun community. We also use Discogs to catalog, and share our record collections.

—
“See the stone set in your eyes. See the thorn twist in your side. I wait for you. Sleight of hand and twist of fate. On a bed of nails, she makes me wait. And I wait, without you. With or without you.” – “With or Without You” (U2/Bono)

The World’s Greatest Lie or: Ready to Strike (Eugeology Entry 17)

04 Thursday May 2017

Posted by in Music Review

≈ 1 Comment

Tags

, , , , , , , , , , , , , , , , , , ,

Salutations™!!

Last week’s selection was a bit weird for me. I liked it okay, but didn’t love it. That’s fine, it happens. Of course, Jon and Eugene are behind. They’ll catch up, probably. But, more of the Eugeology train…

KingKobra_ReadyToStrike

©Capitol Records

#17 – Ready to Strike by King Kobra.

All I ever knew of this band was the promo pics of Carmine Appice, in his cheesy tiger-striped spandex bodysuit and fu-manchu mustache, advertising either drums, cymbals or sticks. I thought it looked silly, even though I was into stuff like that. Something about Carmine that always made me not like him. I really don’t know what that is because when he was on That Metal Show he seemed like a genuinely cool guy. Anywhat!

This came up and I wondered why I hadn’t ever thought to listen to it. I guess it just wasn’t something I necessarily wanted to hear. That happens and preconceived notions are, sometimes, very restrictive. So, I kranked this up (see what I did there?) and let it fly. I thought I was listening to some Yngwie Malmsteen or something because of all the chiming synths and Gothic sounds. That, on its own, isn’t like Eugene, but on the whole, I have to think of the Alice Cooper, Kix and Kick Axe that he likes and, well, okay, it makes sense. I have been surprised by some of the poppy-happy albums that he puts on this list, though. Not disappointed in that, but surprised.

Carmine does a good job on the album. The guitar work on this album, that of David Michael-Philips and Mick Sweda, is at times really flashy. However, it’s all classy and not gratuitous. I really like the guitars’ tone on this album. It’s meaty and beefy and fills the whole album with sonic fullness. A then-unknown Johnny Rod (he later got some recognition with W.A.S.P.) does some sweet bass runs and glissando and holds that bottom end, deep. Musically this album is solid. But, as usual in these Eugeology albums, for me, the real highlight lies in the vocals.

Marcie Free (then she was known as Mark) has a phenomenal voice! It’s depth ranges from near-glass-shattering highs to ear-rattling power to heart-breaking emotion. She picks just the right attribute to use in each performance.  The only part I didn’t like from her was this crazy falsetto thing in one of the songs. I have gone back and now I can’t find it, but it’s not that important. She makes this album great. Spencer Proffer (and Carmine) do a nice on the production, too. It’s full and bombastic. What you’d expect from 1985, I’d say.

Some of my favorite songs on Ready to Strike are “Hunger” (written by Kick Axe – no wonder Eug likes this), “Dancing With Desire,” “Second Thoughts.” My absolute fave on the album is “Tough Guys.” It is awesome. There are a couple of songs that I don’t care for and I can’t put my finger on what they are. Those would be “Shake Up” and “Attention.” Well, I know what bothers me about “Shake Up.” Those lyrics are that whole “fist in the air/live for rock and roll” mess. I don’t like that. “Attention,” I guess, sounds like “Walk Like An Egyptian” on speed and then they switch to Tia Carrere’s version of “Ballroom Blitz.” I don’t know why I don’t like those, but I don’t. Two of the songs were co-written by Kick Axe, the aforementioned “Hunger” and “Piece of the Rock.” Spencer Proffer (Pasha Records – think Quiet Riot) is all over the song-writing credits, too. And someone that is named H. Banger, which to me, sounds like a pen name for someone. I’m pretty sure the “H” stands for Head. I find nothing on this person in my searches.

All-in-all, it’s a great album with but a few clunkers. I’d say that’s still a good thing. I want to read E & J’s takes on it. I may hear from them around Father’s Day on this one. I also want to hear from you, Dear Reader. What do you know/think of this album? I look forward to responses. What’s next, Eug?

Until tomorrow, same blog channel…
Scorp out!

—
“Don’t ask why… Cause we all know that tough guys don’t cry. The world’s greatest lie is that all of us tough guys don’t cry” – “Tough Guys” (King Kobra/Banger/Proffer)

What!? Whatta You Want? or: Special Forces (Eugeology Entry 16)

27 Thursday Apr 2017

Posted by in Music Review

≈ 1 Comment

Tags

, , , , , , , , , , , ,

Salutations™!!

Acforces

©Warner Bros.

Note: I had gotten off on my sequential order. I fixed it. Just so you know. So… Another great one last week, Starz. I gotta be on the lookout for that on vinyl, really. Jon and Eugene are playing catch up. We’ll get their reviews soon. But for now, let’s get to probably the most head-scratching entry we have had on this list yet.

#16 – Special Forces by Alice Cooper.

I’ve never had strong feelings about Alice Cooper, one way or another. There have been great things like Billion Dollar Babies and Welcome to My Nightmare, sure. But, this is not Alice Cooper. I mean, it is, but isn’t. It’s all a bit weird.

There are parts that sound like Alice and some parts that sound like some other person. Now, I know that he was severely f’ed up on cocaine and alcohol at this time. I mean, he does refer to this as his “blackout period” where he had three albums he doesn’t even remember recording from his substance addictions. I don’t know if the guys in his band (or at least the recording band) just went along with him because he’s the boss or were they participating with him, or what, but they complied.

Let me say, though, there’s nothing wrong with this album. I have really gotten into the First Wave/New Wave/Post Punk stuff that happened from about 1980-1983 or so. Stuff I wouldn’t have even listened to 2 seconds of it a mere 10 years ago. The BCPF is a huge fan of that and I’ve started to really get into it. So, this isn’t something I wouldn’t listen to regularly, but for one thing: it’s Alice Cooper. Not that that matters, a good album is a good album. But, is this a good album? I haven’t decided that, yet.

In “Who Do You Think We Are,” once I get past thinking “Turbo Lover” is about to play, I keep hearing Shawn Mullins doing “Lullaby.” Only for a bit, but still it’s there. The rest of that song is Alice, but he’s scattered throughout the album. It’s not a bad song.

I do like the Berlin/Missing Persons-esque sound of the Love cover, “Seven and Seven Is” (originally known as 7 and 7 is). I like that he keeps it synthed-up, too. Oop-ip-ip oop-ip-ip yeah. I like “Prettiest Cop on the Block.” He’s not 6’3″ though (laughs). This song is very much like Alice. The same with “Don’t Talk Old to Me.”

More of the odd (for Alice) synth-based instrumentation on “Skeletons in My Closet” and “You Want It, You Got It.” It reminds me of Robert Hazard or Nails. But, then he goes back to true Alice form with “You Look Good in Rags.” Adam Ant, or the Alice Cooper version, shows up for “You’re a Movie.” This, happens to be my favorite song on the album, by the way. I love his ad-libs. The album ends well with “Vicious Rumours.”

The instrumentation listing should just read “Duane Hitchings and some other folks” because it was mostly a keyboard-/synth-driven album. There were drum machines in lieu of a drummer for a good bit of the album; sucks for you Mr. Krampf. Guitars are present but background material for the better part of the album. Listening on big speakers and headphones and even my laptops’ Bang & Olufsen speakers, Eric Scott’s bass is like Jason Newstead on …And Justice For All, and we all know how that went. Actually, the non-synth songs, you can hear him doing some cool stuff, especially in “Don’t Talk Old to Me.”  It’s just all background to the synths, I think.

So, here’s the thing. I like this album. I think it’s fun, or maybe not fun. I would like this a lot more if it wasn’t Alice treading in his demons. I’m not saying that he shouldn’t have made this album or blaming him for that. I do think it’s a cry for help, which he didn’t get for a while. So, the overall assessment is it’s a great new-wave/first-wave album. It’s not a great Alice Cooper album. But, I dig it for what it was at the time it was. It fit the time.

I want to hear Eug’s take on this and I predict that Jon will find it interesting but not necessarily like it. I could be wrong, I still have a time gauging his like/dislikes. But, it will be interesting, nonetheless.

Until tomorrow, same blog channel…
Scorp out!

—
“Bullets repel off my metals. And, my men are in awe when I speak. All chaos my strategies settles. My mere presence gives strength to the weak. For me it seems really alarming. I’m really just only a man. With five million sheep in this army, I seem to be the only one fit to command.” – “You’re a Movie” (Cooper, Hitchings)