Rock in Rio Announces Debut of HOLLYWOOD VAMPIRES

vampiresthinRock in Rio announces another attraction

The Supergroup, featuring Alice Cooper, Johnny Depp and Joe Perry plays on the same night as Queens of the Stone Age and System of a Down

Rio de Janeiro, February 11, 2015 – The organizers of Rock in Rio have just announced that Hollywood Vampires will be playing at the Main Stage of the Brazilian edition of the festival, which takes place at the City of Rock, on September 18, 19, 20, 24, 25, 26 and 27. The band, featuring rock icon Alice Cooper, American Actor, Producer and Musician Johnny Depp and Joe Perry, lead guitarist for Aerosmith will play on the same night as Queens of the Stone Age and System of a Down.

Alice Cooper, a pioneer of hard rock with a theatrical touch, began his solo career at the end of the 1970s, with classic albums like “Welcome To My Nightmare”, ”Lace and Whiskey”, “From the Inside” and Constrictor”.

A gifted actor, with over 50 films throughout his career, Johnny Depp actually started his career as musician and is a renowned rock enthusiast. His musical ability has already been proven and witnessed by artists including Marylyn Manson, Steven Tyler (Aerosmith) and Keith Richards (Rolling Stones), amongst others.

Joe Perry is considered one of the best guitarists of all times by Rolling Stone magazine and he is a Rock n’ Roll hall of Fame and Songwriters Hall of Fame recipient together with his partners in crime Aerosmith.

Alice Cooper and Johnny Depp have been partners for a while and now with Joe Perry also on Hollywood Vampires, they will “rock it out “ yet once again.

The sixth Brazilian edition of Rock in Rio will be hosted in the City of Rock, in Rio de Janeiro (Parque dos Atletas – Av. Salvador Allende, no number), on an area covering more than 150,000 m2. Initial attractions include Katy Perry, System Of A Down, Queens of the Stone Age and A-Ha, playing on the Main Stage, and John Legend, confirmed for the Sunset Stage.

ALICE COOPER REVIEW – San Antonio Express

Alice Cooper Blows The Majestic To Pieces

SOURCE & ORIGINAL POST:  SAN ANTONIO EXPRESS
HECTOR SALDANA

Thumbing his nose at authority, convention and Father Time, Alice Cooper still can’t think of a word that rhymes.
Which was absolutely fine for 1,800 fans at Majestic Theatre on Wednesday.

The ‘70s and ‘80s shock rocker turned on at least one teen cholo with a bandana draped over his eyes, sexed-up women in heavy goth makeup and several aging fans sporting a calaveras look worthy of Day of the Dead.

Gerard Velasco, 18, was among the fired-up crowd, calling Alice Cooper’s music “a breath of fresh air,” compared to the current scene. He was accompanied by his dad, who never saw Cooper back in the day.

Photo By BILLY CALZADA/San Antonio Express-News. Alice Cooper performs during his “Raise the Dead” tour at the Majestic Theatre in San Antonio on Wednesday, Feb. 11, 2015.

The younger Velasco would never have taken such an opportunity for granted. “It would have been fantastic to be there in the ‘70s,” he said. “It would have been great to be there.”

What did he think about it? “It’s everything I imagined. It all just fits together,” Velasco said.

Cooper actually left little to imagination, delivering his trademark theatrics in full make-up and costumes. He opened with “Hello, Hooray” and “House of Fire,” all of it fueled by three electric guitars, bass and drums.

The multi-generational audience was on its feet from beginning to end. If ZZ Top is ageless (the bearded trio played the venue last month), then Cooper is eternal and making the argument that his ‘70s pop metal — which influenced glam, big-hair rock, goth and even some of the punk movement — trumps the blues when it comes to commercial appeal.

“No More Mr. Nice Guy” came early, setting the stage for Cooper’s tongue in cheek gore, from “I’ll Bite Your Face Off” to “Billion Dollar Babies.”

It’s impossible to prove, but a quick survey of the audience downstairs and up top, seemed to indicate that (per capita) there were more smiles than usual. That’s because Cooper, 67, is highly entertaining, energetic and buffered by cool pyrotechnics.

But he’s no clown. More than 20 years ago (and 20 years past his heyday), Cooper was singing “Lost in America,” with prophetic lines such as “I can’t go to school ‘cause I ain’t got a gun.” Then there’s “Hey Stoopid,” which can be seen as Sid Vicious’ epitaph or a remake of Paul Revere & the Raiders’ “Kicks.”

One of the rue highlights was “Welcome to My Nightmare” with the star of the show sporting a real, live boa constrictor wrapped around his neck and right arm. He kissed it a couple of times, too. That went the same for his bullwhips and walking sticks.

Cooper promised that the “Raise the Dead Tour” would live up to its name, and he honored four of his favorite friends from the wasted old days — Jim Morrison, John Lennon, Jimi Hendrix and Keith Moon. His band dusted off the Doors’ “Break on Through,” the Beatles’ “Revolution,” Hendrix’s “Foxy Lady” and the Who’s “My Generation.”

Nostalgic, yes. But Cooper’s been doing these songs since he was a teen and he sang them with joy.

Cooper closed his 23-song set with “I’m Eighteen,” “Poison” and “School’s Out.” There are plenty that prefer his “Feed My Frankenstein” and “I Love the Dead” reputation but it’s “School’s Out,” which taps into (and updates) the attitude of Chuck Berry’s “School Days” and which can still speak to the pogo-dancing teens at the Majestic on Wednesday.

School’s been blown to pieces.

 

Watch Alice Cooper Austin, TX Gig Live HERE!

The concert will debut and air live at http://alicecooper.cleeng.com on February 12th at 9 PM ET/6 PM PT. Join the crowds, invite over some friends, and TURN IT UP! This concert is part of Alice’s Raise The Dead Tour, and a unique chance to see Alice Cooper rock the stage from the comfort of your home. The concert is being distributed in High Definition, with high quality stereo sound. The show will air live and will also be available on replays for 24 hours, for worldwide viewing.

Note: The quality of the streamdepends upon your internet connection, bandwidth and processing speed. Read the FAQs at http://alicecooper.cleeng.com for further details and test your connection.

REVIEW: Dallas Observer

SOURCE:  Dallas Observer
By Angelica Leicht

Alice Cooper
Verizon Theatre, Grand Prairie
Tuesday, February 10, 2015

Alice_Cooper_Karlo_X_Ramos_1.jpg

Photo by Karlo X. Ramos

When it comes to Alice Cooper, there are two indisputable facts. 1.) His Miliii-wau-kee cameo in Wayne’s World was one of the best and most memorable cameos of all time; and 2.) The man knows how to put on one hell of a live show.

Neither of those facts were tested last night on Cooper’s Dallas stop on the Raise the Dead tour at Verizon Theatre in Grand Prairie. But what was surprising was just how fresh the show could still feel after all these years, in all its campy, over-the-top glory.

Because Cooper has always secretly been the polite, albeit mascara-laden, rocker, he opened the show very shortly after the 8 p.m. start time. (Don’t want to keep the fine paying folks waiting, do we?) From the moment the aging shock-rocker stepped onstage, it was obvious that not much has changed him, and especially his vocal abilities, over the years.

He jumped right into classic rock staples like “No More Mr. Nice Guy” with the ease of a seasoned vet. At 66, his voice still sounds eerily similar to what it did on those old albums. It almost feels unnatural.

When you really think about it, Cooper has been scaring children (and conservative parents) for so long, it doesn’t seem plausible that he’d still be up there, kicking goth-rock’s ass. But somehow, he does it. And he does it quite well.

Cooper plowed through the first half of the set with staples like “I’ll Bite Your Face Off” while snapping bullwhips and grimacing menacingly as the audience, generation after generation of Alice Cooper fans, all watched intently.

Alice_Cooper_Karlo_X_Ramos_2.jpg

Photo by Karlo X. Ramos

Alice_Cooper_Karlo_X_Ramos_3.jpg

Photo by Karlo X. Ramos

While I am admittedly not a die-hard Cooper fan, I have to give it to him: He certainly knows how to put on a show for his fans. After all, putting on a “show” has always been at the heart of what he does. And interestingly, the musicianship in Cooper’s shows is on par with the camp.

There were incredible drum solos and rockin’ guitar riffs layered in with those giant, novelty-sized coffee cups, and the aging rocker perpetually pumped his fist, vacillating between singing and hate-flirting with the audience.

He even gets killed a few times during the show — a part the very enthusiastic Cooper fan next to me kept waiting for. Repeatedly.

“Oh, man. I think he’s gonna get killed now. Ooh — he’s totally gonna get killed now,” proclaimed my seat mate. “See the giant guillotine? Cooper gets killed about three times in each show. Check it out!” he urged, gleefully.

And indeed he was right. Cooper was, in fact, preparing himself to be beheaded, with the help of a blood-thirsty nurse. His severed head was carried around stage like a campy trophy, and the whole thing was gory and awesome.

READ THE FULL REVIEW AT DALLAS OBSERVER

REVIEW: Tulsa World

ORIGINAL SOURCE:
By STEVEN RECKINGER
World Scene Writer

Alice Cooper_01

It’s been said that rock and roll never dies. But in Alice Cooper’s case, it manages to die every chance it gets, only to return to life better than ever.

The father of shock rock returned to the Brady Theater on Saturday for another dose of hard rock music and grisly theatrics during his “Raise the Dead” tour.

Performing in front of a packed house, Alice Cooper showed he’s not ready to quit just yet. He turned 67 on Wednesday, but it’s difficult to see how age is slowing him down. The song list contained a wide range of hits from his early albums of the ‘70s to his most recent works.

Some of his most-recognized songs, like “No More Mr. Nice Guy,” and “Eighteen” were expected to make the line-up, but there were a few songs that were a welcome surprise such as “Lost in America” from 1995’s “The Last Temptation” and “He’s Back” from 1986’s “Constrictor.”

Although most of the fans go see Alice for him, the rest of the band members put on a spectacular show all their own. The three guitarists played off of one another creatively. The Los-Angeles-born Nita Strauss demonstrated an artistic flair that brilliantly complemented Alice’s vocals.

The bassist and drummer were given a nice opportunity to perform for the crowd in a combined solo effort during the song “Dirty Diamonds.” The raw energy of the musicians mixed with Alice’s charisma fit so well together.

The horror-inspired theatrics have always been a large part of Alice Cooper’s shows. Although the Brady Theater lacks the room on stage for extravagant displays, Alice made the space he had work effectively. During the song “Feed My Frankenstein,” a large container was wheeled on stage where Alice was placed inside, only to merge as a grotesque tall Frankenstein-like monster to finish off the number.

Another dramatic performance during “Ballad of Dwight Fry” sees Alice in a straightjacket, singing about his experience in an insane asylum while a crazed nurse continues to mock him. The song finishes with one of Alice’s theatrical staples: his head meeting a ghastly demise with the edge of a guillotine’s blade. Moments like these make Alice Cooper’s concerts more than standard rock acts.

Toward the end of the show, just before the encore, Alice pays a fitting tribute to some of the rock legends of old. The band performed slightly faster renditions of The Doors’ “Break on Through to the Other Side,” the Beatles’ “Revolution,” Jimi Hendrix’s “Foxy Lady,” topping it off with The Who’s “My Generation.” These covers reflect one of the real meanings behind the “Raise the Dead” tour, paying respect to all those who greatly inspired him.

The teenage anthem “School’s Out” finished the concert with dynamic presentation. Flashing lights, machines spraying hundreds of bubbles across the stage, confetti falling from the ceiling, and large balloons bouncing off the crowd as Alice pops them one at a time with a sword. Merging the lyrical content of “School’s Out” with Pink Floyd’s “Another Brick in the Wall” seemed like a fitting combination.

All in all, the whole experience proved to be a fun, engaging evening with Alice Cooper. With his wicked sense of humor and his knack for the devilishly strange, Alice made sure there’s still plenty of life left in him. Or is it death?

Alice Cooper VS Neil Young – Ultimate Classic Rock Hall of Fame

AliceYoung-630x420VOTE HERE:  Ultimate Classic Rock

Billion-dollar babies meet insomniac rust in the opening round of our latest battle for induction into the Ultimate Classic Rock Hall of Fame.

Alice Cooper and Neil Young both launched their solo careers in the late ’60s, with Young’s self-titled debut effort arriving in November 1968 and Cooper’s ‘Pretties for You‘ following in June 1969. Aside from that accident of timing, however, these artists don’t have much in common; where Cooper and his band traded on so-called “shock rock” to help establish their image, Young mostly eschewed flash, favoring a more basic, stripped-down sound.

And while Young achieved mainstream commercial success first, breaking the Top 40 with 1969′s ‘Everybody Knows This Is Nowhere’ before hitting No. 5 with ‘After the Gold Rush‘ the following year and topping the Billboard album chart with ‘Harvest‘ in 1972, Cooper forged his own platinum run during the ’70s, starting with 1971′s ‘Love It to Death’ and continuing through 1976′s ‘Alice Cooper Goes to Hell.’ In between, he peaked in the Top 10 or higher with ‘School’s Out,’ ‘Billion Dollar Babies,’ ‘Muscle of Love‘ and ‘Welcome to My Nightmare.’

Both Cooper and Young endured a bumpy stretch in the ’80s. Although Young’s releases routinely peaked around or above the Top 40 mark, he suffered a period of sales decline, and even found himself sued by Geffen Records for turning in a series of of hard-to-promote albums that didn’t sound like the version of Neil Young the label signed up for. Cooper, meanwhile, failed to chart in the States with either 1982′s ‘Zipper Catches Skin’ or 1983′s ‘DaDa,’ and the albums immediately before and after didn’t fare much better.

But by the end of the decade, both artists were back on top — Young with a triumphant run of records that started with 1988′s ‘This Note’s for You‘ and really got going with 1989′s ‘Freedom,’ and Cooper with the comeback efforts ‘Trash‘ (1989) and ‘Hey Stoopid’ (1991). These days, they’re both firmly entrenched on the list of rock legends, and they both continue to tour and record, but only one will make it through the opening round of voting for the Ultimate Classic Rock Hall of Fame.

Who’s going to win? You decide in this 100 percent reader-voted competition, and you can cast your vote once every hour between now and 11:59 PM on Monday, Feb. 16. The winner for the month will be announced Tuesday, March 3. Be sure to read our official rules.

Read More: Alice Cooper vs. Neil Young – Ultimate Classic Rock Hall of Fame Round One | http://ultimateclassicrock.com/alice-cooper-vs-neil-young/?trackback=tsmclip