Cover Art Released For New Alice Cooper Album PARANORMAL

Can’t wait for the new album “PARANORMAL” to come out! I’m excited to unveil the new album’s cover, featuring photos by Rob Fenn. The new single “PARANOIC PERSONALITY” is out on June 9th, and the full album is out July 28th! Paranormal will be released by earMUSIC as a Double CD Digipak, Double LP, a Limited Box Set, and in digital formats.

There are 12 tracks that were recorded in Nashville with my long-time collaborator Bob Ezrin and features a very special bonus CD — a mini-album consisting of three brand new songs written and recorded together with original Alice Cooper band members Dennis Dunaway, Neal Smith, Michael Bruce, alongside carefully selected live recordings.

Paranormal also features special guest appearances by U2‘s Larry Mullen Jr., ZZ Top‘s Billy Gibbons, and Deep Purple‘s Roger Glover.


Alice Cooper will be performing at the Mother of All Rock Festival in Monterrey on October 7!  This will be a GREAT show, look at this bill!  Tickets are on sale June 5 – Get em HERE

Bandit Brings The Light To Epic Alice Cooper Reunion Concert


Photo by Kyler Clark / @CerealKyler Photography

Bandit Lites provided the lighting for the surprise reunion show for Alice Cooper’s original band.

NASHVILLE, TENNESSEE – Fans of rock legend Alice Cooper know there are some aspects to his live shows that they can expect, including a macabre performance of horror theatrics; however, following Alice Cooper’s customary execution via guillotine at his most recent Nashville concert, fans were treated to something rarely seen since 1975. The stage went dark, and the original band, including bassist Dennis Dunaway, guitarist Michael Bruce and drummer Neal Smith reunited with Alice for five classic songs, including “Billion Dollar Babies” and “I’m Eighteen.”

Bandit Lites has been proud to provide the lighting for Alice Cooper for nearly two decades, including his current production of Spend the Night with Alice Cooper which features a lighting design by Joel Reiff and production direction from Alice’s longtime manager Shep Gordon, a person of rock mythos in his own right, as noted by Tour Manager David Davidian.

Photo by Kyler Clark / @CerealKyler Photography

“Alice and Shep are rock legends in the true sense of the word, but having saidthat, they are also so current and so savvy about the presentation of their show that we in the rest of the team simply help them to see their ideas visualized,” said Davidian adding, “I am thrilled to be a part of this team. My first exposure to Alice was as an audience member buying a ticket for the 1972 Killer Tour at the Boston Music Hall, which both floored me and scarred me as a youth.”

“Shep is one of the few managers that not only is keyed in to the lighting, but is brilliant at envisioning the entire production,” Reiff said. “Good thing he doesn’t know how to program a console, or I might be slumming it.”

While Reiff is quick to point out that he did not invent the wheel regarding lighting, he certainly “knows how the wheel works” with Martin MAC Viper Profiles providing punch, movement and gobo looks, and Martin MAC Auras giving the majority of the foundation looks, with some on the floor and a couple to wash the massive backdrop of Alice’s striking, charcoal-lined eyes.

Bandit Lites also supplied cyc lights for miscellaneous drops, Solaris Flares for punch and effect, Martin MAC Atomic strobes, Nitro 510C, Color Kinetics Color Blaze 72, Color Dashes and a grand MA 2 lite console for control, while  additional lighting support for Reiff comes from Bandit Lites tech, Chas Albea, who Reiff says consistently goes above and beyond.

Photo by Kyler Clark / @CerealKyler Photography

“Not only is he a part of Alice’s show onstage, he’s the lone Bandit guy out here, meaning he sets up the rig, fixes whatever breaks and deals with whatever changes are thrown at him. All which makes running the show a hell of a lot easier when you’re not worrying about anything aside from, “How is this gonna look?” or “Will I have time to switch the pictures of my horses on the console before doors open?”’

With the show not only consisting of a rock concert but also theatrical stunts, Reiff uses the lighting to direct the spectacle, be it guitar leads, heads being chopped off, Alice being electrocuted or bound in a straitjacket.

“The thrill for me is getting to run lights for songs I grew up on,” Reiff added. “I choose the color palette and looks and whatever flash and trash gets thrown in, but it really all has to come down to the music. Don’t distract from the song! Hopefully, enhance it a little with some eye candy but we don’t want any tails wagging the dog.”

“Joel’s eye for structural design, his color palates and graphic choices as a lighting designer are perfection,” said Davidian. “He is also a meticulous and fast programmer, which are two talents that are rare to find in one person. I am a lightning designer myself, I know what I am looking at, and I am constantly impressed with Joel’s work. Joel does a beautiful job and Alice’s lighting is standout good, thanks to both Shep and Joel.”

With the special addition of the original band members, Reiff had one additional direction from Shep: Make sure they are all bright and can be seen at all times.

Photo by Kyler Clark / @CerealKyler Photography

“They added “Muscle of Love”, a great song that was a thrill to finally hear live,” Reiff said. “All I did for the original band show was make sure to follow whatever arrangement changes were made, follow the music, and enjoy the ride.”

What makes the production particularly special, is not only the history on stage, but also off the stage, as David Davidian observed saying, “Mike Strickland and Bandit Lites have been friends of mine since 1973 and both the equipment and the people they have sent to me have always been top notch. I have done many tours as a Lighting Designer with Bandit, as well as my current position as Tour Manager; they always take great care of the artist and the lighting designer of the show, their technical support of the tour is impeccable, and they are invested in the show creatively.”

“Simply a team of legendary professionals working with a band of legendary professionals,” added Bandit’s Vice-President Mike Golden. “What more could you ask for?”

Production support for Alice Cooper includes Producer Bob Ezrin, Tour Director Toby Mamis, Production Manager Cesare Sabatini, Alice’s Assistant Kyler Clark and Alice’s wife, Sheryl Cooper as Nurse Sheryl and Broken Ballerina.

(Photos by Kyler Clark of CerealKyler Photography)

About Bandit Lites, Inc.

Bandit Lites is a global leader in the entertainment lighting marketplace.  From touring productions to fixed installations, Bandit Lites has a full staff of highly trained professionals to deal with all types of lighting needs. Bandit’s global presence will insure seamless transitions no matter where your next show takes you.  More information available at


Alice Cooper Brisbane Sold Out

THANK YOU! We’ve completely SOLD OUT the Alice Cooper show in Brisbane, and the other Australian cities are not far behind! Ace Freely and I  are coming for you in October! Find some of the remaining Australia / New Zealand tickets at:

Oct 17 @ Perth Arena – Perth, Australia
Oct 19 @ Thebarton Theatre – Adelaide, Australia
Oct 20 @ Margaret Court Arena – Melbourne, Australia
Oct 21 @ Hordern Pavilion – Moore Park, Australia
Oct 23 @ AIS Arena – Bruce, Australia
Oct 24 @ Newcastle Entertainment Centre – Broadmeadow, Australia
Oct 25 @ Brisbane Convention and Exhibition Center, South Bank – Brisbane, Australia
Oct 27 @ The Trusts Arena – Auckland, New Zealand
Oct 28 @ TSB Bank Arena – Wellington, New Zealand




Left to right: Music Business Association President Jim Donio, Neal Smitih, Michael Bruce, Dennis Dunaway, Alice Cooper, and Baker & Taylor VP/GM Steve Harkins.   Photo courtesy of The Music Business Association

Fans of rock icon Alice Cooper know there are some aspects to his live shows that they can expect, including a hard rocking performance of horror theatrics; however, following Alice Cooper’s customary execution via guillotine at his recent Nashville concert on May 14th, fans were treated to something rarely seen since 1975. The stage went dark, and the original band, including bassist Dennis Dunaway, guitarist Michael Bruce and drummer Neal Smith reunited to perform five classic songs with Alice. This followed the recent announcement that his forthcoming album –
Paranormal, out July 28th on earMUSIC – will include two new recordings featuring the original line-up.

Joined by current band member Ryan Roxie filling in for the late Glen Buxton on guitar, the band ripped through “I’m 18,” “No More Mr Nice Guy,” “Muscle of Love,” “Billion Dollar Babies” and then closed with “School’s Out,” bringing back current band members drummer Glen Sobel, bassist Chuck Garric, and guitarists Nita Strauss and Tommy Henriksen for a grande finale.

The following day, the original band was honored by The Music Business Association at their annual convention, with an award for their historic achievements.  The award was presented to them by Bob Ezrin, who produced their iconic albums Love It To Death, Killer, School’s Out, and Billion Dollar Babies as well as many subsequent solo Alice Cooper albums, including the forthcoming Paranormal.

Paranormal features two songs written and recorded with original members – Alice, Dennis, Neal and Michael, as well as guest appearances by ZZ Top guitarist Billy Gibbons, U2 drummer Larry Mullen, and Deep Purple bassist Roger Glover. The first single, “Paranoic Personality” will be released Friday, June 9th.

Alice Cooper is on tour throughout the 2017. Full North American tour dates below.

For more information visit


Jun 07 – Fox Cities Performing Arts Center – Appleton, WI
Jun 08 – Grand Casino Hinckley Amphitheater – Hinckley, MN
Jun 09 – Vetter Stone Amphitheater – Mankato, MN
Jun 12 – Paramount Theatre – Denver, CO
Jun 13 – Kingsbury Hall – Salt Lake City, UT
Jun 16 – Thunder Valley Casino Amphitheater – Lincoln, CA
Jun 17 – Cuthbert Amphitheatre – Eugene, OR
Jun 18 – Pepsi Summer Outdoor Concert Series – Airway Heights, WA
Jun 20 – Rabobank Theater – Bakersfield, CA
Jun 21 – Pechanga Theater – Temecula, CA
Jun 22 – AVA Amphitheater – Tucson, AZ
Jun 24 – KLAQ Streetfest – El Paso, TX

Aug 12 – Chelsea Theater at The Cosmopolitan – Las Vegas, NV
Aug 13 – The Greek – Los Angeles, CA
Aug 15 – AK Chin Pavilion – Phoenix, AZ
Aug 16 – Isletta Amphitheatre – Albuquerque, NM
Aug 18 – Cynthia Woods Mitchell Pavilion – Houston, TX
Aug 19 – Gexa Energy Pavilion – Dallas, TX
Aug 21 – Chastain Park Amphitheatre – Atlanta, GA
Aug 23 – Jiffy Lube Live – Bristow, VA
Aug 24 – BB&T Pavilion – Camden, NJ
Aug 26 – Nikon at Jones Beach Theatre – Wantagh, NY
Aug 27 – Xfinity Center – Boston, MA
Aug 28  P.N.C. Bank Arts Center – Holmdel, NJ
Aug 30 – Klipsch Amphitheater – Indianapolis, IN
Sept 01 – KeyBank Pavilion – Pittsburgh, PA
Sept 02 – Molson Canadian Amphitheatre – Toronto, ON
Sept 03 – DTE Energy Music Theatre – Detroit, MI
Sept 06 – Hollywood Casino Amphitheatre – Chicago, IL
Sept 08 – Hollywood Casino Amphitheatre – St. Louis, MO
Sept 09 – Blossom Music Center – Cleveland, OH
Sept 10 – Riverbend Music Center – Cincinnati, OH

INTERVIEW - 'I was more than happy to be the villain'

SOURCE – USA Today / Post Crescent

5 things to know about Rock and Roll Hall of Famer Alice Cooper. Photos: Getty Images/AP. Wochit

For nearly 50 years, spending a night with Alice Cooper would be, above all else, memorable.

Whether decades ago, back when tall tales about shredded chickens couldn’t be cleared up with a simple Google search, or any time since, the man (and the band) known for injecting “shock rock” into the lexicon hasn’t let an audience head for the exits without a show.

Alice Cooper — Rock and Roll Hall of Famer, godfather of shock rock and human Halloween party — returns to northeast Wisconsin next week for a Wednesday night show at the Fox Cities Performing Arts Center in downtown Appleton.

Cooper (real name, Vincent Furnier) is a native of Detroit but went to high school in Phoenix, where he first formed the band whose name he’d later adopt as his own. Rising at the end of the 1960s, Alice Cooper stood in contrast to all the Summer of Love, flowers-in-your-hair iconography of the era. As Rob Zombie put it during the band’s Hall of Fame induction in 2011, Alice Cooper was “more like a murderous gang of drag queens” whose mission was to “destroy the hippies’ dream of peace, love and understanding.”

With contributions to the classic rock canon like “I’m Eighteen” and “School’s Out,” Alice Cooper ushered in a new wave of sensationalism, happily scaring the bejesus out of parents and piling up platinum records along the way. Before a twerking Miley Cyrus had parents writing open letters on Facebook or Marilyn Manson was a scapegoat for national tragedies, Alice Cooper was snuffing out Mr. Nice Guy.

Though lines long ago formed on his face and hands, the 69-year-old provocateur still keeps the circus rolling from town to town. He regularly pushes past 100 performances a year and his 27th studio album, “Paranormal,” is due out later this summer. That’s on top of keeping up with “Nights With Alice Cooper,” his five-days-a-week radio show that’s recorded remotely. He also aims to get in a round of golf every morning, even when he’s on the road. (Get up early on Wednesday morning and you might catch him at Reid or Bridgewood.)

As if he needed more to do, the sober (and — gasp! — devoted Christian) frontman formed the Hollywood Vampires with Joe Perry and Johnny Depp in 2015. Named after a Los Angeles “drinking club” Cooper was a part of in the 1970s with John Lennon, Keith Moon and others, the Vampires put out a self-titled covers-heavy debut two years ago and performed at the Grammy Awards in 2016.

In advance of his Wednesday show at the PAC (which lands perfectly on the day school’s out for summer in Appleton), we talked with Cooper about his most recent endeavors, his “Wayne’s World” cameo and the perks of a Rock and Roll Hall of Fame induction.

What’s the status of the Hollywood Vampires at this point in time?

Johnny’s doing five movies this year. Joe is finishing the Aerosmith tour. And I’m doing this tour. And the whole idea behind that is essentially so that we have 2018 off — that will give us time to do the Vampires tour.

And in that time we’ve got to write the album and record it. Probably December, January we’ll be recording the album and then going out in the spring.

The last time you were in this part of Wisconsin was with Motley Crue on their farewell tour. How was it joining them for their last run of shows?

Well, you know, we’ve known them. We were going before them and we’re going after them. So, different work ethic in the older bands, I think. When I signed into this, I signed in to be a lifer. But I can see — if you don’t have guys in the band, or if you don’t have guys that you’re working with that you like, that you’re happy with — I’ve been with Shep Gordon, my manager, for 48 years. I’ve really learned one thing: You hire the very best players and you also hire the very best players that are good friends. I never have any conflict backstage, I never have any conflict on the bus. All I ever hear backstage is laughing. I never hear people yelling at each other. That goes for the crew, that goes for everybody. It is a pleasure to tour with this group of people. But it took a long time to pare down to get to this group of people.

You were inducted into the Rock Hall of Fame in 2011. Was anything different for you after that, aside from getting to write “Rock and Roll Hall of Famer” in front of your name whenever you want?

You know, the funny thing about it is I for sure thought there would be a secret handshake and I’d get a dossier on who killed Kennedy and UFOs and all that. None of that happened. You just end up in the Hall of Fame.

So you didn’t feel any different after it? 

Well, yeah, you do. I’ll tell you why. A lot of guys go, “Well, I don’t care about the Hall of Fame,” and, you know, it’s only guys not in the Hall of Fame that don’t care about the Hall of Fame. I care about the Hall of Fame because I worked my whole life to get there. The very idea that the Paul McCartneys and the Mick Jaggers and the Jeff Becks are the guys voting for you, it’s sort of like graduating. Your teachers are the guys that vote on you and now I’m in that class where I vote on — you know, I get like 20 different people nominated and then you sit there and you look at all five of those and you’ve been in the business for 40 or 50 years and you go, “Well, which ones really contributed the most?” It’s not just a popularity contest. Which ones not necessarily sold the most records but, like a Laura Nyro or a Paul Butterfield — didn’t sell all the records in the world but one was the greatest American blues band ever and one was one of the greatest songwriters of all time. So, yeah, I’m voting for them.

The odd thing for me is that most of these people are friends of mine. So it’s a very weird thing when you get to vote for them and you go gee, this guy’s a buddy of mine. He’s a buddy but this band here, they contributed more — I’ve got to vote for the band that contributed more. It really is a point of view, you have to know the business, you don’t just look down and check off names.

I was watching Rob Zombie’s induction speech earlier and he spoke about how Alice Cooper were villains of rock and roll. What did it mean at that time to be a villain of rock and roll? 

It was designed that way. And it was also very fortunate that we had that mentality anyway. I always liked the villains more than the heroes, even though I knew the villain was going to get it in the end. That’s why we incorporated the guillotine and the hanging and all that because you couldn’t just let Alice get away with it. There had to be some kind of satisfying end to the show where Alice would get his just deserts. And then come back in a hat and tails, Fred Astaire style, and say, “You didn’t get me, I’m still here.” The audience is satisfied in two different ways. And also, at the time I developed Alice, there was a world of Peter Pans and no Captain Hooks. There was nobody vying to be the villain, who was willing to be the villain. And I was more than happy to be the villain. Only I knew it had to have a sense of humor to it and it had to have, you know, satire to it and it had to have a show involved. It couldn’t just be, I’m the villain, you had to show them why you were the villain.

This year marked the 25th anniversary of “Wayne’s World.” Did that movie help introduce you to a new generation? 

Yeah, you know, I think the bands that were popular at that point — the Guns N’ Roses, who we took on their first tour, and all those bands, were Alice fans. They had amazing looks, all the hair bands, they did great songs and they did great shows. They picked up all that, I think, from Alice. Then the fact we didn’t have a hit during that whole time — we finally got “Poison” out. When “Poison” came out, that was kind of our key to that whole generation. “Feed My Frankenstein” then was just Alice’s introduction to that whole generation. I think we impressed them enough that they went, “Wow, who are these guys?”

That’s how it went for me. That was pretty much my introduction to you and “Feed My Frankenstein” gave me a good scare.

Now your parents’ parents hated us. Your parents were the first generation of people who weren’t allowed to see us. Your grandparents then were the ones who went, “Oh, this guy is from a different dimension” or whatever it was. We kind of let the urban legend develop the Alice Cooper thing. There was no internet then, it was all word of mouth. If you had a nine-foot snake on stage, it was a 25-foot snake the next day. And all the rumors about Alice were true, you know.

Shane Nyman: 920-996-7223, or on Twitter @shanenyman


I’ve attended the Bonnaroo Music and Arts Festival in Manchester, Tennessee a handful of times, including 2012, when  Alice Cooper was an unlikely guest of the festival. While mostly filling out its annual lineups with buzz bands and more, shall we say, of-the-moment acts, Bonnaroo occasionally will throw a more seasoned veteran on a side-stage late at night to up the diversity. Among the bands I’ve seen in those situations are Billy Idol (a blast) and ZZ Top (sadly, a dud). 

Having grown up knowing the classic Cooper hits — “I’m Eighteen,” “School’s Out” and the like — but never having taken the time to, say, dig into “Killer” deep cuts, I figured I’d take the time to check out what the godfather of shock rock had in store. With a festival headlined by the likes of Radiohead, Red Hot Chili Peppers and Phish, the chances for on-stage beheadings are few and far between.

I didn’t regret it. Cooper, at that time more than 40 years into his career, delivered a greatest hits set (plus an unexpected Top 40 cover), each number paired with elaborate and campy theatrical flourishes. There were costume changes. Endless confetti and balloons. There was “I’ll Bite Your Face Off!” There was a brawl between a guy in an Obama mask and a guy in a Romney mask. A giant monster stomped around during “Feed My Frankenstein.” It was all pretty nuts, sure, but even with elements of horror, all of it was in the spirit of fun. Inducted into the Rock and Roll Hall of Fame a year prior, Cooper has the reputation as a legendary showman for a reason. 

With those memories still fresh in mind now five years later, when I got Cooper on the phone last month, I had to ask about the booking and his approach when dealing with crowds that likely were introduced to him through “We’re not worthy!”

“I can tell you two great stories about Bonnaroo,” Cooper said. “First of all, we had a feeling that that audience had heard of Alice Cooper but were certainly not Alice Cooper aficionados. So at the end of the show I said, ‘Let’s do a Lady Gaga song.’ But let’s take our Frankenstein and dress the Frankenstein like Lady Gaga and do ‘Born This Way.’ And we’ll make a rock version out of it. We’ll do a rock version, not a dance version — and maybe they’ll get that.

“I think that the audience loved what we did but it was almost like the audience in ‘The Producers’ during ‘Springtime for Hitler.’ There was a lot of open mouths, kind of like ‘What the hell is this?’

“The other funny thing is on the flight back, I’m listening to two kids (recounting past Bonnaroo memories) and they’re going, ‘Man, I love the Button Hooks!’ and all these bands I’ve never heard of. ‘The Monkey Wrenches were great!’ And the one kid says, ‘I liked the old blind black guy.'”

Cooper paused for a beat, at a loss over how the youngster described one of the biggest artists in pop music history. 

“Stevie Wonder!? Guys! The old blind black guy?”

—Shane Nyman/USA TODAY NETWORK-Wisconsin

What: “Spend the Night With Alice Cooper”

When: 8 p.m. June 7 

Where: Fox Cities Performing Arts Center, 400 W. College Ave., Appleton

Tickets: $42.50 and up; available at the Fox Cities PAC ticket office, and 920-730-3760.

VIP options: Among the available ticket packages are the VIP tour package ($125 plus face value ticket; seating in rows 11-15 and special merchandise), the gold preshow VIP package ($250 plus face value ticket; rows 6-10, guided pre-show stage tour, photo with props, poster, set list and other merch), the Diamond Insanity package ($625 plus face value ticket; rows 2-5, meet-and-greet and photo with Alice Cooper, guided pre-show stage tour, photo with props, post, set list and a chance at joining Cooper on stage to toss balloons) and the Front Row Insanity package ($650 plus face value ticket; front row plus Diamond Insanity perks).