Alice Cooper in the 1980s

Dedications

Dedicated to Stephen Lambe, Andy Michael and Eric Senich

Contents

Introduction

1980 – Roadie And Flush The Fashion

Roadie (Warners, June 1980)

Flush The Fashion (Warners)

Flush The Fashion Tour

1981 – Special Forces

Special Forces (Warners)

Special Forces Tour

1982 – Zipper Catches Skin

Zipper Catches Skin (Warners)

1983 – ‘Dada’

‘Dada’ (Warners)

1984 to 1985 – Monster Dog & The

Magnificent Seven of Rock ‘N’ Roll

1986 – Constrictor

Constrictor (MCA)

The Nightmare Returns Tour

1987 and 1988 – Raise Your Fist and Yell and

the In The Flesh Tour

Raise Your Fist and Yell (MCA)

In The Flesh Tour

1989 – Trash

Trash (Epic)

Trashes The World tour

The album that never happened

Epilogue: Following on from Trash

Introduction

For Alice Cooper, the 1970s had been incredibly successful. He could look back on a series of hugely successful singles, albums and tours which had put Alice Cooper the group – and then Alice the solo performer – on top of the world. The Alice Cooper Group with Michael Bruce, Glen Buxton, Dennis Dunaway and Neal Smith fell apart in 1974 – the first significant heavy price of fame. While his solo career looked set to at least equal the group’s success with 1975’s Welcome To My Nightmare, it had fallen away under the weight of Alice’s own personal issues.

Now there he was in 1980, and to his great credit, he realised he needed to be contemporary, reflecting what was happening at the turn of a new decade. As he continued to battle his demons, he recorded four intriguing, eclectic albums, with at least one classic in Dada.

‘The songs I wrote in the Dada, Zipper, or Special Forces periods I am not ashamed of at all. I thought it was good for hardcore Alice Cooper fans’, recalled Alice in Faces in December 1986.

There was an inevitable collapse and time away. He returned with two metal-focused albums, followed by an all-out tilt at the mainstream with Trash in 1989, which put Alice firmly back on top.

The 1980s is a real thrill ride of twists and turns for Alice Cooper fans. It was certainly never dull, as you are about to find out.

Author Interviews & Correspondence

It was a great privilege to talk to so many of the musicians and performers who worked with Alice. Quite a few of them have never spoken about their time with Alice. I am hugely grateful to them all. Alice is represented here mostly in contemporary quotes, with Dada being the only total blind spot in his memories.

The contributors were Linda Albertano, Tommy Caradonna, Ernie Cefalu, Paul Chiten, Trace Devai, Sylvia Dohi, Dennis Dunaway, Arti Funaro, Franne Golde, Andy Goldmark, Diana Grasselli, Franz Harary, Bob Held, Duane Hitchings, Prakash John, Danny Johnson, Rick Johnson, Eric Kaz, Donnie Kisselbach, John McCurry, Gregg Mangiafico, Guy Mann-Dude, Ken Mary, Devon Meade, Susan Michelson, Jonathan Mover, John Nitzinger, Mike & Valerie Pinera, Al Pitrelli, Kane Roberts, Karen Russell, Alan St. Jon, Ross Salomone, Pepa Sarsa, Rudy Sarzo, Graham Shaw, Neal Smith, Billy Steele, Paul Taylor, Tom Teeley, Joseph Turano, Jan Uvena, Geoff Westen and Kip Winger.

1980 – Roadie and Flush The Fashion

Roadie (Warners, June 1980)

Prior to Flush The Fashion, Alice starred in the film Roadie along with Meat Loaf and Blondie. Alice appears mostly in a mini live concert setting with onstage and soundcheck footage. ‘Pain’ is the best here being a full live concert version. ‘Road Rats’ is only a short piece from the soundcheck, but does appear full-length on the soundtrack album. Part of ‘Only Women Bleed’ (recorded at the soundcheck) appeared in the film only.

Fred Mandel says these recordings were the first steps towards an album. ‘We originally started with Todd Rundgren. We did a few songs and merged the two bands, Utopia and Alice’s band, which was Davey and myself at that point. Todd was producing with Willie Wilcox was on drums, Kasim Sultan on bass and Roger Powell on keyboards and synthesiser. I played piano and guitar’.

The Roadie songs are a curious hybrid that look both backwards and forwards – two reworked oldies in ‘Only Women Bleed’ and ‘Road Rats’ and a new song in ‘Pain’.

‘Pain’ has only ever been released on the soundtrack album and is a cleaner, less ‘painful’, interpretation of the song than on Flush The Fashion. The sparser production works well. Todd Rundgren uses sound effects to enhance the key lines of the baby crying, the convict frying etc. Alice adopts a more forlorn vocal for this version. In many ways, it would have been a better fit for Flush The Fashion. Davey Johnstone’s solo is a case in point, searing and cutting through the sound palette more effectively that he does on Flush The Fashion.

‘Road Rats’ is a real curio. It’s a trebly, faster and two minutes shorter version of the Lace And Whiskey track. It’s a messy version too. Johnstone’s take on the main guitar riff is unpleasant, but Alice handles the vocal lines well, while the gang chorus is amusing. The section (0:53) which opens ‘We’re the men behind the man, we’re the backbone muscle clan’ makes good use of backing vocals to sound like the roadies joining in. It was released on the soundtrack album and then on the Life And Crimes box-set.

Flush The Fashion (Warners)

Personnel:

Alice Cooper: vocals

Davey Johnstone: lead guitar

Fred Mandel: keyboards, guitar, synth, backing vocals

John ‘Cooker’ Lopresti: bass

Dennis Conway: drums

With:

Roy Thomas Baker: drum machine on ‘Talk Talk’, ‘Clones’, ‘Leather Boots’, ‘Aspirin Damage’,

Flo & Eddie, Joe Pizzulo, Keith Allison and Ricky ‘Rat’ Tierney: backing vocals

Produced at Cherokee Studios, Los Angeles, February – March 1980 by Roy Thomas Baker

Release date: 28 April 1980

Highest chart places: UK: -, USA: 44

Running time: 28:29

Both my look and sound are a change for the ‘80s. A change back to a simpler, cleaner, even starker image. The ‘70s were overproduced in every way. I think that people are sick of that and ready for a change.

Alice to World Of Velvet, May 1981

The plan to record the album with Todd Rundgren and Utopia was abandoned. ‘Alice made the decision to go with Roy. So then we started recording at Cherokee with the band on the album’, says Mandel.

It had been a long time since Alice recorded an album with the same musicians on every track. The only musician new to Alice was John Lopresti, who had played bass with Elton John. The connection with Davey Johnstone and Dennis Conway (fellow Elton alumni) led to his involvement. Originally Dee Murray (also from Elton’s band) had been approached to play bass. He told Dave Thompson (Alice Cooper: Welcome To My Nightmare) that, ‘Roy impressed upon us what this was, less of an album and more of a rescue mission’. That’s a harsh judgement, but there is little doubt that Baker’s input was massive.

The bulk of the writing fell on Johnstone and Mandel. Mandel had no previous writing credits with Alice, so this was a big step-up: ‘Somebody had to do it. I ended up doing a lot of the writing. We agreed a three-way split on the compositions. It was usually a title, for example, I had the title for ‘Pain’, no lyrics, for ‘Model Citizen’ and the other songs too. Then partial phrases or ideas, then some lyrics and then building from that onwards. Davey and I would cement the arrangements at my apartment. I had been playing keyboards, but for this album and tour, I switched to guitar because I wrote all the music (except ‘Pain’) on guitar. I was trying to write a rock album. Somehow it ended up sounding new wave, which was not my intention personally. I had eight tunes written for that record. Six made the record, with two carried over for Special Forces’.

The number of songs by outside writers raises concerns as to whether Alice’s song-writing well was running dry, as was the sequencing, which highlighted those concerns with no Alice credit until track three (‘Pain’). The thinking seems to have been to bring in better songs that still suited the project than the two Johnstone/ Mandel tunes that were held over. Mandel charitably says that ‘Things were somewhat chaotic. By the time we went in the studio, Alice was still writing lyrics, and they brought in other people’s tunes, ‘Clones’, ‘Talk Talk’, ‘Leather Boots’ and ‘Dance Yourself To Death’. It seems that ‘Clones’ and ‘Leather Boots’ were the replacements for ‘Prettiest Cop On The Block’ and ‘Don’t Talk Old To Me’. Neither of the latter two were recorded, but there was still enough space left to have included both! This is a short album, but clearly, the feeling was to go for ten tracks to keep things urgent. This they achieved, but why not use the two rejected songs as B-sides? Mandel points out there were other songs that could have been worked up too: ‘I had recorded a couple of ballads, because I was trying to come up with something in the tradition of ‘Only Women Bleed’. ‘It Rains’ was recorded by Davey, Dennis, Dee and myself, but it never made the record. I wrote it entirely on my own for Alice. Another song was ‘My Machine’.’

Mandel switching to guitar meant working out parts with Johnstone: ‘Davey and I both played rhythm. We would cut the tracks with double guitars, Davey played his Les Paul with me playing my Strat (which I bought from Alice). Davey played all the lead parts. I was handling keyboards, synthesiser and guitar. Davey and I worked on the arrangements, so we didn’t go in cold to the studio’.

Most of the new wave-style tracks are on side one, while side two is more of a standard rock vein. ‘Model Citizen’ or ‘Grim Facts’ would have been better used opening side two. ‘Nuclear Infected’ just doesn’t quite cut it as a side opener. The album ends on a low-key note with ‘Headlines’. It does, however, deal with the primary sources of several of the song titles. Alice told Kerrang in 1984 that: ‘One of my biggest influences was the National Enquirer, a kind of Titbits from hell. Especially the old Enquirers, because they’re the ones that are more creative. Some of my songs have been directly lifted from headlines! If I was given the choice of reading something with the headline ‘America ponders world situation’ or ‘boy trapped in cupboard eats dog’, I know which one I’d go for!’

Alice told Trouser Press (July 1980) that: ‘Flush the Fashion is much harder, much more Cooper-esque (than From The Inside). I hooked up with Roy Thomas Baker, who had produced Journey, Cars and Queen. I knew that we’d hit it off as soon as he told me that he owns 22 TV sets. He’s into all types of gadgets and mechanical things. We were able to work well together. He captured exactly the sound I wanted. The album is crisp, almost live. There is very little overdubbing’.

Baker also programmed the drum machine (used throughout side one). Mandel says, ‘That was a Roy production idea; he had one of the little drum machines that were around then. He was a huge organiser so he set up the tracks ready for Alice to come in and sing. He helped direct the tracks a lot. He had an unorthodox recording method using a 40-track Stevens machine. The guy Stevens was in jail and if there was a problem, Roy had to call the prison to get him to help with the technical details. We were in the studio for about a month. Everything was pretty much cut live off the floor, except for the synthesiser stuff’.

Alice was pleased with the final result, telling Song Hits (November 1980) that: ‘The concept was in the sound, a kind of cleanness. It really is just one band all the way through. It’s functional. The title, for instance, came out of the sessions. I was trying to say, ‘get rid of the crap,’ the fills and the overdubs, you know, flush the fashion’. In simpler terms, Mandel saw it as ‘An out with the old in with the new analogy’.

The cover package was key in presenting the ‘new’ Alice, but while Jonathan Exley’s photographs of Alice on the back cover and inner sleeve are outstanding, the front cover is a dour unappealing waste. Far better to have used one of Exley’s shots on the front, which absolutely gets across that this is Alice for the 1980s.

It’s a mixed album. A new Alice and some of it is very good to excellent. It has an attack and freshness that was needed at the time and is a lot better than it’s often given credit for.

‘Talk Talk’ (Sean Bonniwell)

‘That was Alice’s idea to do that track. It made a good contrast’ (Mandel).

A great opening track, exciting and punchy with vintage Alice vocals. It was originally recorded by The Music Machine in 1966. Writer Sean Bonniwell was their lead singer. Fledgling Cooper Group band The Spiders loved the song – a recording exists of them performing it. So when Alice wanted something to kick start his 1980s output, this was perfect. It has an abrasive hard-hitting attitude and the lyrics were a wry summary of where he was at, ‘Now here’s my situation, and how it really stands, I’m out of circulation, I’ve all but washed my hands’.

It opens with grinding twin guitar riffs from Johnstone and Mandel. As soon as the bass and drums come in, you can hear this is a raw, stripped-down approach that Alice has not had in a long while, as far back as Love It To Death or Killer. Alice is immediately on form, grabbing the song and performing the lyrics with real purpose. The only frippery in the mix is the drum machine, which is a low pulse in the background.

The ever-busy Mandel overdubs a lead synth part (1:02) based on the melody line, which is a lovely switch instead of a guitar fill and keeps an up-to-date sheen on the sound. For long-time Cooper fans, a throwback to past glories comes at 1;18 with a trademark ‘Oh, Oh yeah’ that again reiterates he is back in business. For the outro, Johnstone plays a fill, riffing on the song’s melody line before the staccato vocal ending. The drum machine is intelligently brought up in the mix here to smooth the segue into ‘Clones’.

‘Talk, Talk’ was released as a single, backed with ‘Dance Yourself To Death’.

‘Clones (We’re All)’ (David Carron)

‘You know, I don’t really like ‘Clones’. When Roy Thomas Baker played it for me, I liked it, but my opinion has changed since then’. So said Alice to Live! in June 1982. Clearly, the song’s attraction had gone for him after playing it live for two years, but his opinion softened and he brought it back on several later tours.

Writer David Carron’s clothes designer girlfriend Wendy Barrier paved the way for ‘Clones’ being recorded by Alice. Davey Johnstone loved her clothes and visited their home. He and Carron hit it off, jamming together, with Johnstone taking a special liking to the song. He took it to Alice and Baker, who both thought it was perfect for the album. ‘I liked it’, says Mandel, ‘It was very Gary Numan-ish. It was the best single for the time. I played synthesiser. ‘Clones’ helped propel that album’.

Baker’s drum machine opens the song with Johnstone’s guitar wails, joined effectively by Mandel’s equally wailing synth. Alice’s voice is put through a vocoder to give it a clipped robotic tone, while the twin rhythm guitars give things a tight roughness. Conway and Lopresti keep things simple, playing along with the drum machine.

What a great chorus it is, too, supremely catchy and very pop. Alice double-tracks his vocals, singing rather than speaking the lyrics as he does in the verses. At times he is joined by the backing singers, whose contributions throughout this album are superb. Johnstone gets in a backwards guitar fill at 2:18, which adds to the quirky feel before the outro, where the song fades out as the rhythm slows down.

‘Clones’ is another high spot on the album, a generally well-received major change in direction for Alice. It was released as a single backed with ‘Model Citizen’.

‘Pain’ (Cooper/ Johnstone/ Mandel)

Mandel: ‘It’s like a Samba with the Latin undertones, but it’s an ominous tune. It’s got some classical structure to it with the piano figures. I was incorporating that with a rock approach. I sang the solo melody to Davey. I had the whole thing structured in my head and it was the only song I wrote on piano for the album. I did all the orchestral stuff on it. Alice had those lyrics prepared before we went into the studio. ‘Pain’ was cut with one guitar, and we had piano instead of second guitar’.

The best song on the album. Mandel’s swaying Samba melody lines are a joy and offer a dynamic contrast to the lyrics, expertly delivered by Alice. We have had three completely different songs now, and this one sees Alice returning to familiar, lusher territory.

Mandel’s opening piano would have pleased Bob Ezrin. That swaying samba comes in right after it, punctuated by Conway’s booming bass drum. There are two rhythm guitar tracks underpinning the sound, but otherwise, it’s the keyboards that dominate.

Alice hits a peak with a delivery that is up there with anything he has ever done. His vocal changes to suit the narrative – almost a lullaby for the baby crying, stinging nastiness for the convict frying etc. Johnstone adds screaming lead lines for the chorus, leaving Alice to almost croon the words!

The middle eight sees Alice up closer and personal – ‘And it’s a compliment to me to hear you screaming through the night’. The change of pace here is augmented by Johnstone’s tasteful solo which complements the keyboards well. Both Johnstone and Mandel get another chance to shine (at 2:42) with an instrumental break that again stays with the song’s melody line.

The outro is clever, dropping down to Alice, the piano and synth, then slowly fading out to nothing. Your ears strain to catch the dying sounds, only to be assaulted by the sharp incoming rush of ‘Leather Boots’.

‘Leather Boots’ (Geoff Westen)

The shortest song Alice had recorded (‘Street Fight’ excepted) since Pretties For You. We get a fizzing ball of energy that ties in strongly with the new wave feel that permeates the album. Contrasting with the sawing rhythm guitars, Johnstone plays a jangling guitar lick over the top, while Alice delivers a kind of neurotic Elvis vocal, dropping into mock villainy for the ‘hurt somebody’ refrain. Meanwhile, the amusingly deadpan backing vocals sound like Flo & Eddie alone. Equally fun are the drum machine interjections that pop up. It’s one of the weakest tracks on the album, but an entertaining listen.

Geoff Westen recalls how he got involved: ‘It was being recorded just around the corner from where I was living and they needed one more track. Dennis Conway, one of my best buds, suggested they get in touch with me because