Road Alice Cooper

• 1 I'm Alice 03:55
• 2 Welcome to the Show 03:36
• 3 All over the World 03:52
• 4 Dead Don't Dance 03:30
• 5 Go Away 04:20
• 6 White Line Frankenstein 03:40
• 7 Big Boots 03:14
• 8 Rules of the Road 03:48
• 9 The Big Goodbye 03:32
• 10 Road Rats Forever 04:04
• 11 Baby Please Don't Go 03:29
• 12 100 More Miles 03:04
• 13 Magic Bus 03:39
• Total Runtime 47:43

Info for Road

The road will make you or break you. To survive it, you need to be as tough as asphalt and move fast enough to make the competition eat dust. Throughout 2022, Alice collaborated closely with the members of his touring band as well as longtime producer Bob Ezrin, putting together what would become his 2023 studio album, Road. You can feel the energy and lightness that the band brings with every riff and hear the story behind what inspired them. Bringing everything full circle, it channels the spirit of old-school Alice with instantly recognizable grit and plenty of gusto. It's everything you'd hope for from him and more. And this time his trusted longtime bandmates - Ryan Roxie [guitar], Chuck Garric [bass], Tommy Henrikson [guitar], Glen Sobel [drums], and Nita Strauss [guitar] - are riding shotgun. Kane Roberts (a touring and recording collaborator with Alice's band in years past who briefly rejoined Cooper on the road in 2022) makes a special guest appearance, contributing the raucous and rip-roaring "Dead Don't Dance." Other special contributors to the album include Rage Against the Machine's Tom Morello, who co-wrote, and plays and sings backing vocals on "White Line Frankenstein," and Buckcherry's Keith Nelson and MC5's Wayne Kramer, who also co-wrote new songs with Alice.

Alice Cooper, vocals, backing vocals
Tommy Henriksen, guitars, keyboard, percussion, backing vocals, piano (track 7), bass (tracks 7, 11)
Ryan Roxie, guitars, backing vocals (track 13)
Nita Strauss, guitars, backing vocals (track 13)
Chuck Garric, bass, backing vocals (track 13)
Glen Sobel, drums
Additional musicians:
Bob Ezrin, backing vocals, acoustic guitar (track 11), horn synth (track 12)
Keith Miller, acoustic guitar (track 11)
Roger Glover, bass (track 11)
Burleigh Johnson, piano (track 10)
Kane Roberts, guitars (track 4)
Tom Morello, guitars (track 6), backing vocals (track 6)
Sheryl Cooper, backing vocals (track 8)

Alice Cooper (vocals; born February 4, 1948), Glen Buxton (guitar; born November 10, 1947, died October 18, 1997), Michael Bruce (guitar, keyboards; born March 16, 1948), Dennis Dunaway (bass; born December 9, 1948), Neal Smith (drums; born September 23, 1947).

Before the world heard of KISS, the New York Dolls, Marilyn Manson or Ozzy Osbourne, there was Alice Cooper, the original shock-rock band. With their penchant for ghoulish stage shows and a gender-bending wardrobe, this five-man group brought the element of theater to the world of rock. That alone would securely cement their stature as innovators. Yet they backed up their penchant for outrage with rock-solid music. Beyond the visuals Alice Cooper was a musical powerhouse, incorporating melodic hooks and complex progressive-rock passages into a foundation of catchy, riff-driven hard rock delivered in Cooper’s menacing, take-no-prisoners voice. Many of their songs – including “I’m Eighteen,” “Under My Wheels,” “Be My Lover” and “School’s Out” – remain anthems of the classic-rock era.

During their Seventies heyday it was impossible to be indifferent about Alice Cooper. They were one of the first acts of the modern-rock era that forced people to sit up and take notice, engendering curiosity and controversy in equal measure. The controversy began with the group’s very name. Alice Cooper was the both a band name and stage handle of its lead singer (born Vincent Furnier), suggesting a flamboyant sexual dualism that America was not yet ready to accept. Reportedly, the name surfaced during a session with the Ouija board.

Onstage, Alice Cooper brought a new level of visual theatrics to arenas with their gory array of props, which included a guillotine, electric chair, boa constrictor and fake blood. Their musical set pieces included Cooper’s beheading and electrocution. Their bleakly humorous explorations of the dark side were a far cry from the Woodstock ideals of peace and love. “We were the group that drove a stake through the heart of the love generation,” noted Cooper. The group was even deemed objectionable behind the Iron Curtain. According to Pravda, the Russian state newspaper, “Alice Cooper’s singing makes the blood run cold.”

They even jump-started the punk-rock movement that took root in Britain, inspiring the likes of Johnny Rotten (a.k.a., John Lydon). “I’ve referred to the Sex Pistols as ‘musical vaudeville’ and ‘evil burlesque,’ and for me there was definitively Alice Cooper influence there,” Lydon reflected.

Alice Cooper was banned, censured and lambasted by the establishment, all of which further fueled ticket sales to their concert spectacles. Their 1973 tour broke box-office records previously held by the Rolling Stones, and raised the bar for touring rock bands. After Alice Cooper, fans came to expect more from the concert experience. They wanted to see a show.

The roots of Alice Cooper extend back to Cortez High School in Phoenix, Arizona, where the core members came together as music aficionados with a shared yen for the macabre and surreal. They weren’t necessarily alienated misfits, as three members of the Earwigs – the first group in the Alice Cooper lineage – were high-school track stars who ranked among the fastest milers in the state. Dunaway, original drummer John Speer and Alice Cooper himself (known as Vince Furnier to his friends) could run a 4:30 mile, according to Cooper. Renaming themselves the Spiders, they scored a regional hit with “Don’t Blow Your Mind.” They changed names again to the Nazz and moved to Hollywood in 1968 with the idea of making it nationally. The final name change to Alice Cooper came when they learned there already was a Nazz – the Todd Rundgren-led group from Philadelphia – in existence.

The Alice Cooper band comprised vocalist Cooper, lead guitarist Glen Buxton, rhythm guitarist Michael Bruce, bassist Dennis Dunaway and drummer Neal Smith. Frank Zappa signed them to his Straight label. Zappa was attracted to the way the group flouted conventions, both socio-sexual and musical. Alice Cooper’s first two albums, Pretties for You (1969) and Easy Action (1970), were strange even by Sixties psychedelic standards, but hold up today as monuments to the group’s undaunted pursuit of the bizarre.

However, Alice Cooper himself regards those records more as products of the group’s Nazz era and considers Love It to Death the first real Alice Cooper album. This release marked the group’s debut on Warner Bros. and the first of four with producer Bob Ezrin. (He would also go on to produce Alice Cooper as a solo artist.) With his cinematic and colorful production style, Ezrin came to be regarded by Alice Cooper as their George Martin (the Beatles’ producer). He taught them to focus, edit and tighten their more sprawling conceptual numbers. Released in 1971, Love It to Death was a tour de force of misfit fantasies and adolescent angst whose key number, “Eighteen,” gave Alice Cooper its first hit and an indelible classic about the anxieties of late adolescence. (Source: www.rockhall.com)

This album contains no booklet.