For the Alice Cooper fans who feel his output was spotty before and after the 1989 classic Trash on Epic, Brutal Planet is a cause to rejoice. It is a solid hard rock offering. Cooper is in great voice, and he sounds mean and spirited. The title track would be a blessing on radio today. It has great bottom, sizzling guitars, and wonderful backing vocalists. The most impressive thing about this album is Cooper's lyrics. "Sanctuary" could be Lou Reed meets Deep Purple in their heyday. Back in 1987 Cooper performed with an unruly band all over the map. It was very uncomfortable and a far cry from his heyday of "I'm 18" and "Under My Wheels": guitars too loud, and an artist obviously struggling with his personal demons.
Give him points for persistence: Alice Cooper just won't quit. He's seen it all from the bottom to the top – and done the trip more than once – but still continues on his merry-morbid way, punching out albums like a spry young'un. The first thing one has to say about The Eyes of Alice Cooper is thank Jehovah and all his witnesses that the Mascara'd One has grown out of his metal/industrial phase. That look just never took. Discs like Brutal Planet (2000) and the somewhat better Dragontown (2001) offered little to his legacy or his legion of fans – aside from nascent headbangers discovering the Coop for the first time. Eyes harks back to Alice's overly maligned early-'80s discs Special Forces and Flush the Fashion – albums that suffered by comparison with his landmark '70s releases but remain far more musically appealing than the aforementioned new-millennium fare.
Acclaimed poet Dr John Cooper Clarke and esteemed singer / songwriter (and founding member of The Stranglers) Hugh Cornwell have teamed up to release their first album, This Time It’s Personal. It's a match made in the rock 'n' roll heaven of their respective youth and, just as their eyebrow-raising new album says, This Time It's Personal. Featuring classic tracks that they both grew up listening to, the album is the surprising duo’s first collaboration.
Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. West coast meets Dutch jazz – in this sweet set that features Bob Cooper on tenor and Conte Candoli on trumpet – both musicians who rose to fame in the LA scene of the 50s, but who still stand plenty strong here with the trio of Rein DeGraaff in the 90s! Cooper and Candoli continued to play often over the years – even after both had lost the opportunity to record much as leaders – and the musicians are in fine form here, with strong backing from Rein's trio that also features Koos Serierse on bass and Erik Ineke on drums.
Former member of Con Funk Shun is back with fifth solo album. This time on the Thump label entitled, "Are We Cool". Cooper has enjoyed considerable success as a solo artist and this release is no exception. The veteran soul singer doesn't disappoint here. Funk lovers will also hear that famous Con Funk Shun horn section that made them mainstays on the R&B charts all through the late 70's and 80's. On the initial listen a stand out track will be hard to pick since there are so many, but 'Butter Luv' the lead off track, 'Are We Cool', 'Remember L.O.V.E.', 'Marry Me Again', & 'Club Feenz', highlight Cooper's creative R&B genius. Very cool album. Yes Coop....we are very cool.
Hey Stoopid is the 19th studio album by rock singer Alice Cooper, released on July 2, 1991. After his smash 1989 hit album Trash, Cooper attempted to continue his success with his follow-up album, which features guest performances from Slash, Ozzy Osbourne, Vinnie Moore, Joe Satriani, Steve Vai, Nikki Sixx and Mick Mars (both of Mötley Crüe). Hey Stoopid was the last music album to feature bassist Hugh McDonald before he joined Bon Jovi as their unofficial bassist in 1995.
Lace and Whiskey is the tenth studio album by Alice Cooper, released in May 1977. After many years of portraying a dark and sinister persona Alice Cooper decided to try something new and donned the persona of a heavy drinking comic PI named "Maurice Escargot" - a fictional character in the same vein as Inspector Clouseau. Cooper is pictured as Escargot on the back cover of Lace and Whiskey, which was still a rock-based album but was stylistically influenced by Cooper’s love for 1940s' and 1950s' movies and music. The album only peaked at #42 in the US and #33 in the UK…