Founder rate ends 9th September.

We’re rebuilding theartsdesk to secure the future of real arts journalism. Be part of it by subscribing: if you do it now, the founders’ rate of just £40 yearly is yours FOR LIFE!

SUBSCRIBE NOW 

Album: Alice Cooper - Road

Rockin' tour tales, tall stories and entertaining hokum from the perennial Seventies rocker

share this article

Vincent and spider do 'Mad Max II'

Let’s face it, well over 50 years into Alice Cooper’s career, you probably already know whether his umpteen-billionth album is for you. Over the last decade, he’s revitalised things by taking a meta look at himself, but, whether harking back to his proto-punk Detroit roots or creating sequels to classic albums, his genial schlock-rock has settled to a calculable pattern.

Nothing wrong with that. Worked for Motörhead and The Ramones. As with the later career of those bands, if the listener is inclined, Road has its moments. It's a concept album about being on tour. This is an environment where Cooper feels at home, as anyone who’s seen his theatrical live extravaganza will attest. It’s also a tribute to the endless global rounds made by his touring band – Ryan Roxie, Nita Strauss and Tommy Henrikson on guitars, Chuck Garric on bass, and Glen Sobel on drums – with whom he worked up the album.

He starts by introducing “a friend of mine” with “a dagger and a cane and silk top hat” on “I’m Alice” before diving into the rockin’ celebration of his grand guignol spectacle on “Welcome to the Show”. Then we’re into life on tour, whether that’s 75-year-old Alice being stalked by a groupie on “Go Away” or offering us his hammy “Rules of the Road”.

The music is stompy, pop-tinted-but-polished rock, produced by his old mucker Bob Ezrin, even sort-of-borrowing the melody of “I Love Rock’n’Roll” for the chugging, catchy “White Line Frankenstein”. There’s also bouncy, Fifties rock’n’roll pastiche and hints of boogaloo blues along the way. One of the best cuts is the slowie “100 More Miles”, which delves into tour burn-out, coming on like a fusion of The Damned and late-period Iggy Pop.

Another highlight is “Big Boots” whose cheesy opening line – “We made a dinner stop at the burger shop/The waitress was a goddess from the bottom to the top” – belies the fact all is not what it seems, à la The Kinks’ “Lola”. It’s witty, surprisingly punchy, musically, and doesn’t take itself too seriously. The same can be said for much of this entertaining latest from the indefatigable Alice.

Below: watch the video for "I'm Alice" by Alice Cooper

It's a concept album about being on tour, an environment where Alice Cooper feels at home

rating

3

explore topics

share this article

Help secure the future of arts journalism

In this era of algorithmic recommendation, opaquely sponsored content and AI slop, theartsdesk’s mission to preserve real journalistic and critical values has never been more important.

If you like what you see here, please join us 
in this mission.

Subscribing to the site will help us in our coming 
redesign and expansion.


If you do this before the 9th September this will be at our guaranteed founder’s rate: 
your subs will never increase again.

Subscribe now for £5 per month. 
or yearly for just £40.

Or if you simply want to support us with a one-off donation, you can do so here.

more new music

The genre-crossing musician brings a New Age sheen to his solo piano tribute
The London trio add toilet bowls and ugly crying to the hedonistic glamour
New York band’s blend of folk rock and psychedelia grabs attention
Northern indie four-piece offer a vim-laden snapshot of disenfranchised Britain
Ladysmith Black Mambazo and Laura Mvula shine
Garage, French House and feeling collide in latest release
A creative, inclusive, endlessly imaginative festival for families
Prolific Aussie psychedelicists marry dance and prog sounds
A soaring fusion of atmospheric melancholy and energetic punk