ALICE COOPER: Road
Road
Looking through the rearview mirror at 2023, there were quite a few older bands who released new material (Winger, L.A. Guns, Dokken, Extreme, Jethro Tull, for example) but few as old as Alice Cooper. While I’ve heard and read some buzz around all these other releases, Road, his 29th studio album released in late August 2023, kind of fell under the radar.
Rearview Mirror
I will be the first to confess I am not deeply familiar with all the legendary showman’s back catalog, other than, of course, his greatest hits from those albums. (What can I say, as a pre-teen my parents didn’t approve of his music, haha). Suffice it to say, die-hard fans don’t need me to regurgitate his litany of success, both in the studio and on the “road.”
However, for me, the trilogy of The Last Temptation, the spectacular Brutal Planet and the highly under-appreciated Dragontown remain the most intriguing to my more progressive metal mind. Those 3 albums were so chock full of critical, yet truthful, observations about human nature, and the heavier, more metal approach (at least to the latter two) was killer.
Additionally, in the current era of Cooper, since the release of Dragontown, the eclectic Welcome 2 My Nightmare would be another highlight for its diversity, creativity and commitment to the “ultimate sequel” formula. Funny, too.
On the Road Again
Not surprisingly, when you hear about the release of new material from Alice Cooper you assume the songs will be well-crafted, well-executed, well-recorded and mixed. You assume also the songs will possess tons of catchy melodies and hooks and plenty of the raw wit and “sobering observation” we’ve come to expect from the Cooper exegesis.
Furthermore, Cooper always surrounds himself with the best rock musicians (and longtime friend Bob Ezrin) in the world. If guitar phenom Nita Strauss isn’t enough, you’ve got Ryan Moxie and Tommy Henriksen on guitars, and Chuck Carric on bass. And drummer extraordinaire Glen Sobel (who has played with Impellitteri) has been with Cooper for how many years now? His playing is dynamic, explosive and precise.
As to Road, it is all those things and more, yet this one has many throwback moments to the ‘70’s and 80’s material – with the exception of a few songs, Road is a good ‘ole fashioned Rock ‘n’ Roll, tongue-in-cheek record. However, the thread of more “day-to-day” elements of “life on the road” winds through all these tracks. Even the cover song of The Who’s “Magic Bus” is a fitting “encore” of sorts.
The Alice Cooper Show
Road plays through like a live show, which is likely the intent. The sound and mix is not quite as raw as a live mix, but these songs don’t sound “over-produced.” There is a good balance of treble and bass, the vocals always clear in the mix, yet every instrument easily discernable.
Words
Lyrically, well this is Alice Cooper, you know what to expect, so I won’t dwell on the specifics other than to say they are in keeping more with the kind of thing we’ve heard from him during the first two decades of his career, which some might find distasteful, especially some of the allusions in “Big Boots” and “White Line Frankenstein.” Honestly, though, most of his descriptives poke fun at the life of a rock star and life of those “on the road.”
Setlist
Part I: Re-introductions
The opening trio of songs serve as an introduction to Alice (“I’m Alice”), an intro to the show (“Welcome to the Show”) and a statement of purpose (“All Over the World”). Just like any great setlist, in the opening tracks you want to connect with your fans, find that common ground, and get the party started.
Thundering tom flams open the “opener” as Alice states his case as the entertainer you need to satisfy your lust for “something unworldly from another breed…” and he similarly acknowledges that familiar place of unrestraint with restraint which he has to offer his long-time fanbase.
“For a slice of heaven in this living Hell/Come and be with me that you know so well”
Re-introductions aside, the show kicks off with the almost punkish “Welcome to the Show” which rocks with the kind of conviction and energy expected to rile the fans into a frenzy. Track 3 goes old school honky-tonk style with keyboard “horns” and tambourine as Cooper makes his case for his (and his band’s) world-wide notoriety.
“They know its all about the show … ‘cause we kill it wherever we go”
Part II: Out of Control
In contrast, the monster groove swing and metal vibe of “Dead Don’t Dance” features Carric’s bass guitar and a shredding guitar solo (sounds like Nita Strauss?). The song is like Led Zep on 90’s metal steroids.
“Go Away” is quintessential Cooper. This straight up-tempo rocker is simply put, about the obsessive fan who just won’t “go away.” Incredible guitar sounds and once again masterful drumming – the big rock ending a bit short, but sweet!
“Don’t call, don’t text, don’t write!”
The Pearl Jam meets Rage Against the Machine-like groove of “White Line Frankenstein” demonstrates the diversity of songwriting, as well as the band’s ability to execute the style with credibility and ease. Not surprisingly, the song features both the guitars and BGV’s of Tom Morello.
Subsequently, “Big Boots” – love it or leave it – speaks all for itself! Never one to leave off a shocker, this song is an entire band collaborative effort (per writing credits) and it plays out like one which was spawned spontaneously during a late night (or early morning) recording session when the entire group was “punch drunk.” Too funny.
Part III: Road Rules and Roadies
The humor continues with “Rules of the Road” – perhaps the title track of the album? – a rock ‘n’ roll number simple in musical design, but the killer melodies and those sweet guitars perfectly parody the world of rock stardom!
“If it’s in a glass, drink it! /If it’s offered to you, take it! /If you drive/drive it hard! /And if you follow these simple rules, by the age of 27, well … you’re gonna die … hahaha”
“If you wanna be hot, if you wanna be cool/You only get one shot. /You gotta follow the rules/The rules of the road”
“The Big Goodbye” represents one of the more metallic songs on Road, the lead guitar riff reminiscent of Countdown to Extinction era Megadeth, Sobel’s 4×4 beat driving the song down the road with power. As a huge fan of the Brutal Planet album, this is one of my favorites on Road.
Appropriately on an album about life on the road, we have a song which pays tribute to the “roadies.” “Road Rats Forever” is a reprise/remake of the song from the Lace and Whiskey album? Just one of the many references to prior songs and characters (Frankenstein once again making an appearance) found on Road. There are quite a few on this album, left up to the listener to discover!
Part IV: Regrets and Magic
The final two songs represent the more sober side of life on the road. “Baby Please Don’t Go” is the ballad, replete with regrets about “tour separation.” I think we’ve heard this song a thousand times from every band out there, but Cooper makes it work. Furthermore, I don’t think Road would be complete without this song.
Musically, I’m not enthralled with “100 Miles” as a closer. It’s a good song, and it fits importantly into the concept. The Beatles-esque musical vibe is good too but I would have liked to hear a song with more aggression and grandiosity as the finale.
The cover of The Who’s “Magic Bus” plays out like an encore and once again exhibits the talent of this somewhat younger group of musicians (ok, other than Alice) to channel the music of their predecessors. This respectful homage features more great guitar work and the surprise ending, Sobel’s “hidden” drum solo tribute to one of the greatest drummers of all time, Keith Moon (“M-O-O-N, that spells Keith Moon!”). [Forgive the reference to King’s iconic The Stand]
CD
1. I’m Alice (3:55)
2. Welcome to the Show (3:36)
3. All Over the World (3:52)
4. Dead Don’t Dance (3:30)
5. Get Away (4:20)
6. White Line Frankenstein (3:40)
7. Big Boots (3:14)
8. Rules of the Road (3:48)
9. The Big Goodbye (3:32)
10. Road Rats Forever (4:04)
11. Baby Please Don’t Go (3:29)
12. 100 Miles More (3:04)
13. Magic Bus (3:39)
Blu-Ray
The box set version I am in possession of includes a BD of Cooper’s performance (about 72 minutes) at Hellfest 2022 (France). The setlist features hits from the ‘70’s, ‘80’s and early ‘90’s, all performed by the current band line-up, which is fantastic as alluded to at the beginning of this review. The filming is quite good and the BD features PCM stereo and 5.1 mixes as audio choices. Both are quite good – the sound absolutely killer!
Expect all the usual live show theatrics (including the guillotine) and great showmanship not only from Cooper himself, but the rest of the band. It’s immensely evident from watching this show that these musicians are a well-honed unit, all complementing each other’s playing at every note and beat. You would expect an artist at this stage of his career to be on the decline, but nothing could be farther from the truth.
Of course, the “band” is a joy to watch as well, especially Glen Sobel (drums) and Nita Strauss (guitar) – two virtuosos on their respective instruments. They add so many subtle intricacies into the music without overstepping Cooper’s vocals. But when the time is theirs in the spotlight, they shred/jam with authority and conviction – absolute professionalism at the highest level in rock music.
Vinyl
The box set also features the 2LP (180-gram) version of Road, pressed in wide grooves at 45 RPM. The three song album sides spin through too quickly, but it’s worth it for the sound quality. My only complaint is that the black discs come in printed paper inners with lyrics, etc. As a result, there are plenty of thankfully only superficial abrasions on the vinyl surface. It’s not audiophile elite quality, but it’s very close. The song order on the vinyl is the same as the CD version. Fortunately, the vinyl cleaned up properly, the songs sound amazing.
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