Alice Cooper – The History Of Punk

Alice Cooper the band were a close-knit gang and certainly looked the part, with their mix of glam and Rolling Stones early 70s-style chic. They just needed the right producer to deliver on their potential.
That’s when the group hooked up with producer Bob Ezrin and refined their ‘theatre of the grotesque’ stage act, complete with guillotines, electric chairs, fake blood, reptiles and mutilated dolls.

Ezrin’s productions were all about drama and he worked at convincing the band to refine their stage act into more polished songs. He also drafted in some sessions musicians to bolster the sound.

And just like that, they had a US hit single, I’m Eighteen in late 1970 and early ’71. It was enough to convince Warner Brothers to offer the group a budget for the first of their classic run of albums starting with Love It To Death.

Touring America in the summer of 1971, the band really began to up the theatrics, with Alice appearing in a straitjacket during The Ballad of Dwight Fry and being sent to the electric chair in Black Juju.

Showing they could combine the Detroit rock styling with more complex arrangements, Ezrin topped it all off with typically grandiose production and string arrangements to enhance the drama.

After the tension and release in Halo of Flies, side one closed with one of Alice and guitarist Michael Bruce’s best co-compositions, Desperado.

I’ve always viewed these two songs as a one-two punch. The change of pace and mood of Desperado is the perfect complement to Halo of Flies and adds new depth to the album. Alice claimed he wrote it about The Doors’ singer Jim Morrison, who died around the time the album was being made in 1971.
Controversy was never far away from Alice Cooper in this era, and that was just the way they wanted it. On Killer the song Dead Babies stirred up a heap of trouble. Despite the band’s claim that the song was railing against child abuse, the guardians of the public morals decided it was nothing short of satanic.

Alice’s notoriety had reached British shores by this point and when School’s Out became a number one hit in 1972, there were calls by Mary Whitehouse and members of the British Parliament to have the group banned from the UK.

Leo Abse MP described Alice Cooper’s act as “the culture of the concentration camp. His incitement to infanticide and his commercial exploitation of masochism is evidently an attempt to teach our children to find their destiny in hate, not in love.”

The establishment was outraged. A report in The Guardian newspaper in 1973 said,

“It is the Cooper stage show which arouses alarm. I saw him perform in his home town of Detroit last month. Although the thick clouds of marijuana probably preserved me from too sadistic a reaction, wax babies were smashed and impaled on guitars.

“Alice was beheaded and his bleeding neck and the bodies of shop-window mannequins were nuzzled and gnawed to the accompaniment of a throbbing, relentless tide of menacing rock music.”

Guardian, 1973

Of course, this only made fans even more determined to buy the group’s records and concert tickets.

Alice and Warner Brothers made the most of all this publicity. The School’s Out LP came with the record wrapped around a pair of disposable knickers.

In the late summer of 1972, in the run-up to the US presidential election, Alice Cooper released the single Elected. The promotional video, seen on Top Of The Pops, showed Alice on the campaign trail, stepping out of a limousine in New York City and greeting potential voters in a white suit and tails and a top hat.

His campaign message was simple and direct. At the end of the song he can heard proclaiming:

“And if I am elected, I promise the formation of a new party – A third party, the Wild Party!
I know we have problems. We got problems right here in Central City,
We have problems on the North, South, East and West,
New York City, Saint Louis, Philadelphia, Los Angeles, Detroit, Chicago,
Everybody has problems,
And personally, I don’t care.”

Elected, the 45, was slightly edited and had a different mix from the subsequent album version, with a grungier guitar sound. I can still remember the thrill of hearing that guitar intro blasting out at a local church disco.

The group’s biggest selling album, Billion Dollar Babies, was previewed for fans in Britain by a promotional flexi-disc given away with the weekly music paper NME in February 1973. The free flexi included ‘Slick Black Limousine’ a track unavailable elsewhere.

Pretty much every song on Billion Dollar Babies was a big production number. Probably the most over-the-top was Unfinished Sweet, with Alice in the dentist’s chair about to have his gums removed. Ezrin’s orchestral arrangement was aptly melodramatic.

The album’s finale was the outrageous and anthemic I Love The Dead, another song that would have had Mary Whitehouse tearing her hair out.

No one cared. Billion Dollar Babies was a number one album on both sides of the Atlantic. The record was packaged elaborately, including a billion dollar note. The band were headlining tours around the world and they looked the part, dressed up in white silk suits on the inside sleeve of the record.

But by 1974 things began falling apart. There were disagreements over how much money was being spent on the stage shows. Alice wanted to go more in the theatrical direction, but the others wanted to get back to being a rock band.

Meanwhile Alice was probably being encouraged by the record company to ditch the band and carry on as a solo artist, formally adopting the Alice Cooper name as his own.

Drugs and alcohol played their part in the downfall. Alice, nowadays teetotal, was back then never pictured without a beer in his hand. Lead guitarist Glen Buxton contributed less and less in the studio and was excluded altogether from the recording of the next record, Muscle Of Love.

The crucial split came with Bob Ezrin. Mike Bruce and Ezrin clashed over the arrangement of one of the new songs and Ezrin quit. The band has lost their production wizard. The resultant album had fewer quality songs and less of the sparkle of the previous records. Bass player Dennis Dunaway said later: “We could tell that everything was being pulled out from underneath us. As hard as we tried to get it back to where it once was, we had that sinking feeling.”

But by leaving the band behind, he lost a degree of credibility. No longer scary, just cartoonish. Rolling Stone’s review said that “without the wildness and drive the Cooper band had, the gimmicks on which Alice the performer must rely are flat and obvious.”

Overall, the reviewers were generous about Welcome To My Nightmare. But a later review of Alice’s solo career concluded that despite this promising start, “the majority of his subsequent releases were often not as focused and were of varying quality.”

Punk77 says – Alice has continued going and as of 2024 is still touring frequently. One other album to note of interest to this website is the Special Forces album from 1981 which was a bit controversial to his fans as it saw him discard the traditional Alice look temporarily and sound and move in a more new wave image/direction.

---

Above feature is courtesy of Richard Newell‘s Bang The Drum All Day blogspot entitled Alice Cooper – back when he was genuinely scary

---

---