Road Alice Cooper

• 1I'm Alice03:55
• 2Welcome to the Show03:36
• 3All over the World03:52
• 4Dead Don't Dance03:30
• 5Go Away04:20
• 6White Line Frankenstein03:40
• 7Big Boots03:14
• 8Rules of the Road03:48
• 9The Big Goodbye03:32
• 10Road Rats Forever04:04
• 11Baby Please Don't Go03:29
• 12100 More Miles03:04
• 13Magic Bus03:39
• Total Runtime47:43

Info for Road

Nach Tausenden von Auftritten und weit über einer Million zurückgelegter Meilen, dreht der in die Rock and Roll Hall of Fame® aufgenommene Alice Cooper auf seinem neuen Album Road [earMUSIC] noch einmal so richtig auf.

Produziert von Bob Ezrin, wurde das Album mit seiner aktuellen Touring-Band geschrieben, komponiert und aufgenommen. Mit seiner Entschlossenheit und jeder Menge Gusto, schließt es den Kreis und verkörpert Alice Coopers Old School-Spirit. Es ist alles, was man sich erhofft, und noch so viel mehr.

"Die Rolle des Schock-Rockers schien Alice Cooper lange Zeit gepachtet zu haben. Es war vor allem sein Image als Kunstfigur. Auf "Road" tritt er uns mit Rockmusik der 1970er und 1980er Jahre entgegen – traditionell, aber modern und zeitlos verpackt. »Auf Road wollte ich, dass die Band an der Entstehung aller Songs beteiligt ist. Ich sehe die Jungs und Nita nur, wenn wir auf Tour sind. Ich wollte also, dass sie so tight wie bei den Live-Gigs sind, aber eben mit ganz neuem Material. Genau das war der Ansatz für diese Platte. Wenn man eine Band hat, die so fantastisch wie meine ist, sollte man auch mit ihnen angeben – und das Album ist meine Art, eben das zu tun«, wird Alice Cooper zitiert. Diesen Anspruch hat er gewiss umgesetzt. Folglich gibt es dafür von mir die volle Punktzahl." (rocktimes.info)

Alice Cooper, Gesang, Hintergrundsgesang
Tommy Henriksen, Gitarren, Keyboard, Schlagzeug, Hintergrundgesang, Klavier (Track 7), Bass (Tracks 7, 11)
Ryan Roxie, Gitarren, Hintergrundgesang (Track 13)
Nita Strauss, Gitarren, Hintergrundgesang (Track 13)
Chuck Garric, Bass, Hintergrundgesang (Track 13)
Glen Sobel, Schlagzeug
Zusätzliche Musiker:
Bob Ezrin, Hintergrundgesang, akustische Gitarre (Track 11), Horn-Synthesizer (Track 12)
Keith Miller, akustische Gitarre (Track 11)
Roger Glover, Bass (Track 11)
Burleigh Johnson, Klavier (Track 10)
Kane Roberts, Gitarren (Track 4)
Tom Morello, Gitarren (Track 6), Hintergrundgesang (Track 6)
Sheryl Cooper, Hintergrundgesang (Track 8)

Alice Cooper (vocals; born February 4, 1948), Glen Buxton (guitar; born November 10, 1947, died October 18, 1997), Michael Bruce (guitar, keyboards; born March 16, 1948), Dennis Dunaway (bass; born December 9, 1948), Neal Smith (drums; born September 23, 1947).

Before the world heard of KISS, the New York Dolls, Marilyn Manson or Ozzy Osbourne, there was Alice Cooper, the original shock-rock band. With their penchant for ghoulish stage shows and a gender-bending wardrobe, this five-man group brought the element of theater to the world of rock. That alone would securely cement their stature as innovators. Yet they backed up their penchant for outrage with rock-solid music. Beyond the visuals Alice Cooper was a musical powerhouse, incorporating melodic hooks and complex progressive-rock passages into a foundation of catchy, riff-driven hard rock delivered in Cooper’s menacing, take-no-prisoners voice. Many of their songs – including “I’m Eighteen,” “Under My Wheels,” “Be My Lover” and “School’s Out” – remain anthems of the classic-rock era.

During their Seventies heyday it was impossible to be indifferent about Alice Cooper. They were one of the first acts of the modern-rock era that forced people to sit up and take notice, engendering curiosity and controversy in equal measure. The controversy began with the group’s very name. Alice Cooper was the both a band name and stage handle of its lead singer (born Vincent Furnier), suggesting a flamboyant sexual dualism that America was not yet ready to accept. Reportedly, the name surfaced during a session with the Ouija board.

Onstage, Alice Cooper brought a new level of visual theatrics to arenas with their gory array of props, which included a guillotine, electric chair, boa constrictor and fake blood. Their musical set pieces included Cooper’s beheading and electrocution. Their bleakly humorous explorations of the dark side were a far cry from the Woodstock ideals of peace and love. “We were the group that drove a stake through the heart of the love generation,” noted Cooper. The group was even deemed objectionable behind the Iron Curtain. According to Pravda, the Russian state newspaper, “Alice Cooper’s singing makes the blood run cold.”

They even jump-started the punk-rock movement that took root in Britain, inspiring the likes of Johnny Rotten (a.k.a., John Lydon). “I’ve referred to the Sex Pistols as ‘musical vaudeville’ and ‘evil burlesque,’ and for me there was definitively Alice Cooper influence there,” Lydon reflected.

Alice Cooper was banned, censured and lambasted by the establishment, all of which further fueled ticket sales to their concert spectacles. Their 1973 tour broke box-office records previously held by the Rolling Stones, and raised the bar for touring rock bands. After Alice Cooper, fans came to expect more from the concert experience. They wanted to see a show.

The roots of Alice Cooper extend back to Cortez High School in Phoenix, Arizona, where the core members came together as music aficionados with a shared yen for the macabre and surreal. They weren’t necessarily alienated misfits, as three members of the Earwigs – the first group in the Alice Cooper lineage – were high-school track stars who ranked among the fastest milers in the state. Dunaway, original drummer John Speer and Alice Cooper himself (known as Vince Furnier to his friends) could run a 4:30 mile, according to Cooper. Renaming themselves the Spiders, they scored a regional hit with “Don’t Blow Your Mind.” They changed names again to the Nazz and moved to Hollywood in 1968 with the idea of making it nationally. The final name change to Alice Cooper came when they learned there already was a Nazz – the Todd Rundgren-led group from Philadelphia – in existence.

The Alice Cooper band comprised vocalist Cooper, lead guitarist Glen Buxton, rhythm guitarist Michael Bruce, bassist Dennis Dunaway and drummer Neal Smith. Frank Zappa signed them to his Straight label. Zappa was attracted to the way the group flouted conventions, both socio-sexual and musical. Alice Cooper’s first two albums, Pretties for You (1969) and Easy Action (1970), were strange even by Sixties psychedelic standards, but hold up today as monuments to the group’s undaunted pursuit of the bizarre.

However, Alice Cooper himself regards those records more as products of the group’s Nazz era and considers Love It to Death the first real Alice Cooper album. This release marked the group’s debut on Warner Bros. and the first of four with producer Bob Ezrin. (He would also go on to produce Alice Cooper as a solo artist.) With his cinematic and colorful production style, Ezrin came to be regarded by Alice Cooper as their George Martin (the Beatles’ producer). He taught them to focus, edit and tighten their more sprawling conceptual numbers. Released in 1971, Love It to Death was a tour de force of misfit fantasies and adolescent angst whose key number, “Eighteen,” gave Alice Cooper its first hit and an indelible classic about the anxieties of late adolescence. (Source: www.rockhall.com)

This album contains no booklet.