10 Songs, 28 Minutes

EDITORS’ NOTES

Here, Alice Cooper doffs his hat to garage-rock heroes The Music Machine on the chest-beating opener (“Talk Talk”) and embraces dance-inflected postpunk on the incredible single “Clones (We’re All)” (which cracked the American Top 40) and its thematic doppelganger “Model Citizen.” Throughout, he managed to mix ’60s punk with then-contemporary pop without sounding like he was jumping trends or kowtowing to radio. And then there was his sneer, which commands full attention on everything from a ’70s-styled woe rocker (“Pain”) to a cheeky nod at pain-reliever junkies (“Aspirin Damage”) to a charming little meltdowner (“Nuclear Infected”) to a rocker about spliff-happy parents who’ve “loosened their uptights” and can’t act their age (“Dance Yourself to Death”). Fresh off his work with Queen and The Cars, producer Roy Thomas Baker infused the Cooper canon with some synths and programmed beats (think The Cars and Devo), while riffs from Elton John six-stringer Davey Johnstone keeps the rock steady. Guests include Flo and Eddie from The Turtles. The 1980 release (his 12th studio album) was the Coop’s last bestseller until 1989’s platinum comeback Trash.

EDITORS’ NOTES

Here, Alice Cooper doffs his hat to garage-rock heroes The Music Machine on the chest-beating opener (“Talk Talk”) and embraces dance-inflected postpunk on the incredible single “Clones (We’re All)” (which cracked the American Top 40) and its thematic doppelganger “Model Citizen.” Throughout, he managed to mix ’60s punk with then-contemporary pop without sounding like he was jumping trends or kowtowing to radio. And then there was his sneer, which commands full attention on everything from a ’70s-styled woe rocker (“Pain”) to a cheeky nod at pain-reliever junkies (“Aspirin Damage”) to a charming little meltdowner (“Nuclear Infected”) to a rocker about spliff-happy parents who’ve “loosened their uptights” and can’t act their age (“Dance Yourself to Death”). Fresh off his work with Queen and The Cars, producer Roy Thomas Baker infused the Cooper canon with some synths and programmed beats (think The Cars and Devo), while riffs from Elton John six-stringer Davey Johnstone keeps the rock steady. Guests include Flo and Eddie from The Turtles. The 1980 release (his 12th studio album) was the Coop’s last bestseller until 1989’s platinum comeback Trash.

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Ratings and Reviews

4.8 out of 5
32 Ratings

32 Ratings

rpchurch ,

Guilty Pleasure

Definitely my favorite of Cooper's "lost weekend" era (Special Forces, Flush the Fashion, and DaDa). This, paired with DaDa, are definitely the most experimental of his career. And, this one, in particular, is just a new wave freakshow. I absolutely love it! Think A.C. fronting the Cars, with Gary Numan on keyboards. If that sounds good to you, pick this up right now. Thanks to iTunes for putting some of the Coops more obscure stuff back into circulation.

Madman Mike ,

New Wave Cooper

This 1980 release is mentioned very infrequently by many when citing classic Cooper, but it's a noteworthy release that boasts a few buried treasures. The new-wave veneer suits Alice just fine and the songs are, by and large, short, sharp and to the point. Though synthesizers are utilized more extensively than before, there's still plenty of razor-sharp guitar on some of these tunes, courtesy of Elton John fretman Davey Johnstone. Highlights include the hit single "Clones (We're All)," "Grim Facts," and the anthemic album-closer "Headlines. All in all, it's a catchy collection that makes up in energy and humor what it may lack in the b-movie menace that Cooper traded in previously.

fireball1598 ,

clones (we're all)

i like this album some dont becuase its a bit sloppy be cuase it was before he went to rehab for achol problems but clones (we're all) is an AMAZING song and if your not gonna buy the labum buy that song

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