REVIEW: Dallas Observer

SOURCE:  Dallas Observer
By Angelica Leicht

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


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.


Photo by Karlo X. Ramos


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.


REVIEW: Tulsa World

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 |

Alice Cooper's Austin, TX performance to be available LIVE on PPV

Alice Cooper fans who aren’t able to make it to any of his currently scheduled headline appearances are in for a treat come Feb, 12th.

The concert will debut and air live at as well as on traditional TV PPV 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 stream depends upon your internet connection, bandwidth and processing speed. Read the FAQs at for further details and test your connection.

This is also a bonus for fans already planning on attending the Austin, TX gig!  A limited number of tickets for this concert are still available HERE -

Details on where and how to watch coming soon, in the mean time check out this teaser video below!

Alice Cooper joins Johnny Depp in Anaheim for Duesenberg NAMM party

Alice Cooper once again joined Johnny Depp in Anaheim, CA for what is becoming an annual jam at Duesenberg Guitar company’s NAMM party.  This year the event benefitted two charities, and the pair played together in the final section of a night filled with great songs for a few great causes.

Starting out the night were Brian Ray’s band The Bayonettes, performing about an hour of original and cover material.  Brian has been a staple member of Paul McCartney’s band since 2002.

Up next was Johnny Depp himself, together with some old friends bassist Bruce Witkin and guitarist Joey Malone, and yet another member of Paul McCartney’s band, resident drummer Abe Laborial Jr.  The band was introduced as the “No Name Band”, probably because they are a loose bunch of players and not a serious project.  The boys played two original songs before introducing legendary musician Joe Walsh who sat in for the rest of their set.  Together the band performed Funk 49, Rocky Mountain Way, Walk Away and a cover of Search And Destroy.

Not to be outdone, Alice joined the core band for a swift and merciless run thru of true rock n roll classics – Brown Sugar, Revolution, I’m Eighteen, School’s Out, Come Together and My Generation.

The night was a rousing success raising funds for charity!

Alice Cooper looks on as Johnny Depp performs with on 12/24/2015 in Anaheim at Duesenberg NAMM Party.  Photo by Kyler Clark, @CerealKyler

Alice Cooper looks on as Johnny Depp performs with on 12/24/2015 in Anaheim at Duesenberg NAMM Party. Photo by Kyler Clark, @CerealKyler

Alice Cooper looks on as Johnny Depp performs with on 12/24/2015 in Anaheim at Duesenberg NAMM Party

Alice Cooper looks on as Johnny Depp performs with on 12/24/2015 in Anaheim at Duesenberg NAMM Party.  Photo by Kyler Clark, @CerealKyler

Johnny Depp performs with Joe Walsh 12/24/2015 in Anaheim at Duesenberg NAMM Party

Johnny Depp performs with Joe Walsh 12/24/2015 in Anaheim at Duesenberg NAMM Party.  Photo by Kyler Clark, @CerealKyler and Alice Cooper on Death-Defying Drumming, Bodily Functions



When you gather all four members of Mötley Crüe and Alice Cooper, the conversation will inevitably turn to subjects that are both dark and profanely funny. Seated in a New York City hotel room, everyone is dressed appropriately in black to talk about what lies ahead: the Crüe’s final concert and how they will say goodbye.

“Alice, can you build us three more guillotines, and then we’ll just end it?” usually tacit Crüe guitarist Mick Mars suggests, referencing one of the shock rocker’s most infamous stage props.

“Better, it’s a puff of smoke and when it clears, there’s just skeletons up there with your clothes on – and that’s it,” Cooper offers.

“That sounds good,” Mars rejoins, looking content as everyone laughs.

After December 31st, 2015, the only show Mötley Crüe will be playing will be the great gig in the sky, to borrow a phrase from Pink Floyd. Last year, the band’s original four members – Mars, vocalist Vince Neil, bassist Nikki Sixx and drummer Tommy Lee – signed a “cessation of touring agreement,” a legal document that prohibits them from playing together ever again beginning on New Year’s Day of next year. So, starting last summer, the group, along with special guest Cooper, has been making the rounds on its ultimate victory lap, the “Final Tour,” complete with unwieldy pyro (“The first blast of fire I think singed my eyebrows off,” Cooper tells the band, “It took my breath”) and a full-scale drum roller coaster dubbed the “Crüecifly.”

This week, Mötley Crüe announced the final 34 concerts they’ll be playing in North America, most of which feature special guest Cooper and all of which will feature the Crüecifly, culminating with a blowout at Los Angeles’ Staples Center. The Crüe also put out a new song, “All Bad Things” – as in the tour’s slogan, “all bad things must end” – which may or may not be their final song, depending on whether they write new music for the upcoming Hollywood adaptation of their 2001 memoir The Dirt. The band claims to have other surprises planned but is keeping mum on what they may be.

Currently, though, as they tell Rolling Stone between stories of lascivious debauchery and forked-tongue-in-cheek death jokes, their sights are firmly set on the end of their touring career, the reason they’ve gathered together in the first place. Even if it kind of weirds them out.

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