10 Songs, 32 Minutes

EDITORS’ NOTES

Alice Cooper’s 14th studio album might be a minor effort (Cooper says he can’t even remember making it) in the context of the rock star’s 40-plus year career. By this time, he'd already mixed Broadway and horror with weepy confessionals and international chart-topping hard rock anthems. But minor or no, the album’s still long on Cooper’s heady commitment to hard rock hooks, dead-on vocals, and killer songwriting thick with cockeyed characters and preeny sarcasm. There’s the self-skewering homage (“Zorro’s Ascent”), heavy postpunk pop (“I Like Girls”—a duet with Patty Donahue from The Waitresses), a wonderfully sung cinematic ballad cowritten by film-score king Lalo Schifrin (“I Am the Future”), and a five-minute musical suite worthy of Bob Ezrin (“No Baloney Homosapiens”), which connects dots between theater, hard rock, classical music, and punk. And what’s not to love about a guy who “pedestalizes” his pets after they rise from the dead to save his life on “I’m Alive (That Was the Day My Dead Pet Returned to Save My Life)”? On-again off-again Cooper guitarist Dick Wagner is everywhere here too, which is a good thing.

EDITORS’ NOTES

Alice Cooper’s 14th studio album might be a minor effort (Cooper says he can’t even remember making it) in the context of the rock star’s 40-plus year career. By this time, he'd already mixed Broadway and horror with weepy confessionals and international chart-topping hard rock anthems. But minor or no, the album’s still long on Cooper’s heady commitment to hard rock hooks, dead-on vocals, and killer songwriting thick with cockeyed characters and preeny sarcasm. There’s the self-skewering homage (“Zorro’s Ascent”), heavy postpunk pop (“I Like Girls”—a duet with Patty Donahue from The Waitresses), a wonderfully sung cinematic ballad cowritten by film-score king Lalo Schifrin (“I Am the Future”), and a five-minute musical suite worthy of Bob Ezrin (“No Baloney Homosapiens”), which connects dots between theater, hard rock, classical music, and punk. And what’s not to love about a guy who “pedestalizes” his pets after they rise from the dead to save his life on “I’m Alive (That Was the Day My Dead Pet Returned to Save My Life)”? On-again off-again Cooper guitarist Dick Wagner is everywhere here too, which is a good thing.

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Ratings and Reviews

4.1 out of 5
29 Ratings

29 Ratings

SproutGraphics ,

Not a Masterpiece, But Really Good

Alice was clearly having fun with this album. It seems as if he hopped in a time machine after completing Billion Dollar Babies, travelled 10 years into the future and made this album. It is both musically and lyrically creative.

One of the coolest album covers - if somewhat gross. The back cover has a picture of him actually getting skin caught in his zipper.

This album saw him abandoning the "new Alice" for some reason but this more real-life, funny, human Alice is great to have around. He tells his stories with different characters, acting out the songs better than he ever has.

"I Am the Future" is hands-down the best song of this album and one of his best ever. Other personal favorites are "Adaptable," the cult-hit "I'm Alive" and "Tag, You're It."

Reckia6 ,

One of Al's forgotten albums

A good album that never got the recognition it deserved. Side one is pretty solid, with strong songs like Zorro's Ascent and Make That Money, while the second half has some fun songs like Adaptable For You and I Like Girls. I like this album a bunch.

Sully_Digs ,

Love the forgotten 4

As for the reviewer who stated this is the worst of the four AC albums that Alice does not remember recording, I agree. But, I have an attachment to all of them and love them to death.

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