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  #1171  
Old 19th July 2019, 03:49 PM
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Shame that EP isn't getting a cd release. I have a record player but would prefer cd.
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  #1172  
Old 20th July 2019, 06:22 AM
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30 second samplers from each of the songs on the new EP

https://alicecooper.lnk.to/Breadcrumbs
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  #1173  
Old 25th July 2019, 12:22 PM
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25th July, 1989 - 30 years ago today, 'Trash', the 11th solo album by Alice and the 18th album overall, was released

It reached #2 on the UK album chart, helped by the lead single (which also reached #2 on the singles chart)

This was Alice's most successful commercial album. He had moved from the MCA label to Epic, and brought in producer and song writer Desmond Child. This was an album specifically designed to hit the top of the charts, and boy - did it succeed! Unfortunately during this upgrade, something was lost from the mix, and that 'something' was the Alice Cooper that long standing fans wanted. There is little of the humour or horror material that the older fans loved





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  #1174  
Old 26th July 2019, 05:18 PM
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Ultimate Classic Rock has a new exclusive interview with Alice:

"Alice Cooper Talks About Resurrecting Lost Catalog Classics



Alice Cooper will reveal the first part of a Detroit-themed music project he’s been working on recently in September.

Breadcrumbs finds the legendary rocker paying tribute to his “garage rock heroes from his hometown Detroit city” with special guests like MC5’s Wayne Kramer and Mark Farner of Grand Funk Railroad. The six-song EP teases a future album that should arrive sometime in 2020.

Working with his usual collaborator, Bob Ezrin, Cooper had a specific reason for giving the record a Motor City flavor. “The Detroit sound is Alice Cooper," Cooper told UCR earlier this year. "That’s where we wrote Killer, Love It to Death, School’s Out and Billion Dollar Babies. I’ve always looked at Alice Cooper as sort of a Detroit band, really. ... We’re a guitar band. We’re a guitar rock band. That’s what we’ll always be. 'Under My Wheels' is probably what an Alice Cooper Detroit band sounds like.”

Cooper is currently in a familiar place. When he’s not in the studio or on the golf course, chances are pretty good you’ll find him onstage. “I didn’t expect at 71 to be in Alice Cooper and the Hollywood Vampires,” he says now. “You know, there’s two bands that are touring bands and both of them are major shows and major albums. So I wasn’t expecting that, but I’m happy to be doing it!”

The second Hollywood Vampires album, Rise, was released on June 21; Cooper is thrilled with the reception it's received so far. “We didn’t expect the Vampires album to be No. 1 in England,” he says. “I mean, it’s No. 1 in five or six countries right now. We’re really, really happy with that.”

The band played a string of dates leading up to the release of Rise. Cooper is now back on the road for his own tour, a lengthy run that finds him doing a major revamp to both his stage show and set list. The shows are bookended by a pair of monster songs: 1991’s “Feed My Frankenstein,” a longtime fan favorite and concert staple, and “Teenage Frankenstein,” a rarity that's making its first stage appearance since 2001.

“We start with Frankenstein and end with Frankenstein, because the nature of the show is like going to the carnival, a really old carnival and being on one of those funhouse rides," Cooper explains. "Alice Cooper’s Nightmare Castle rides -- that’s what the stage looks like and that’s what it feels like up there. Because some of the things that happen are really carny-driven. The creepiest people to me onstage were the carnies. The show just has that feel to it. When you go to it, you’ll feel like you’re at the carnival.”

The completely redesigned stage features a multi-level stone castle adorned with skulls and iron chandeliers. The castle is just one piece of a larger vision Cooper initially had for the show.

“We were going to make it into an Alice Cooper castle thing," he says. But "we’ve always had this carnival vibe to the Alice Cooper show anyway, so the more I looked at the set, the more I said, ‘Let’s make this more so it looks like if you were watching a movie and it was one of these old dilapidated carnival rides.' So when the curtain comes down and you see it, you’re already in it.”

“My Stars,” from the School’s Out album, makes its first appearance in an Alice Cooper set since 1974, and, it turns out, it’s been buried on a shelf for decades for a specific reason. "That wasn’t even a song that we did back with the original band because we didn’t have a piano player,” Cooper notes.

“It was always a song we kind of avoided a little bit, because of the fact that you need that piano in there. Now, I hardly use any tape onstage at all, unless it’s for special effects. That’s the only thing I use on that. I use the piano track on that, and then the band plays to the piano track, because we still don’t have the piano player. We didn’t have that option back in the ‘70s. Now we can do that.”

“Teenage Frankenstein,” from 1986’s Constrictor, and “Roses on White Lace,” from 1987’s Raise Your Fist and Yell, are also making rare appearances onstage these days.

“We found out in a strange way that every time we do an ‘80s rock song, that’s where this band shines,” Cooper says. “They can play all of the old stuff easily, but when it comes to songs like 'Bed of Nails,' 'Poison,' all of the songs from the ‘80s and ‘90s, they jump on that stuff and they play it perfectly."

In other recent Cooper news, his name was on the list of artists who may have lost assets in the 2008 fire that reportedly destroyed more than 100,000 master recordings owned by Universal Music Group. Both Constrictor and Raise Your Fist and Yell were released by the company. Cooper is unclear about the status of those masters and feels for his fellow artists.

“If we would have lost anything, Shep [Gordon, Cooper's manager] would have called me, so I don’t think we’ve lost anything,” he says. “I totally understand when you get bands like Tom Petty and groups like that, with all of the recording that they did, how many things got lost. I can imagine that’s devastating. That’s like if the Rock and Roll Hall of Fame caught fire. All of the things in there that are irreplaceable would be lost. So who knows what the damage is on that? I don’t think they know what the damage is yet.”"
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  #1175  
Old 26th July 2019, 05:20 PM
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Starting to get some reviews of the new tour, and as usual they are raving over the shows!

Metal Rules .com
"Alice Cooper Unleashes his Nightmare Castle on Unsuspecting Allentown, PA 7/17/19

Alice Cooper made a grand entrance at the PPL Center in Allentown, Pennsylvania, this past Wednesday with his new stage show “The Nightmare Castle.” Donning his trademark eye make-up, a black leather jacket, and wielding a cane, he opened with “Feed My Frankenstein” while pacing the stage like a menacing ringmaster about to unleash a bizarre freak show on the unsuspecting crowd. By the look on Alice’s face, you knew he meant business. And so began the spectacle dubbed, “Ol’ Black Eyes Is Back” for a 19 date co-headlining tour across North America with Halestorm.

Like a fine wine, Alice only gets better with time and never disappoints. If you’ve never experienced one of his shows, be prepared and forewarned that it can get pretty gruesome. This year’s stage resembles a medieval castle littered with torture devices, skeletons, skulls, coffins, and ghouls. During “Dead Babies” while in a straitjacket, Alice attempts to cut the head off a baby doll with a clever. His plan is foiled when two henchmen dressed as evil babies put him in the guillotine and cut his head off while the band sings, “I Love the Dead!” On “Teenage Frankenstein,” a monstrously tall “FrankenAlice wreaks havoc with Alice’s and his bandmates. During “Roses on White Lace” a bloodied bride takes Alice to the top of the castle to seduce him and who couldn’t forget when an inflatable 10-foot baby breaks through the castle wall during “Schools Out.” All of this mayhem is choreographed to Alice’s biggest hits from the last 48+ years. The thrilling madness of his show had fans entertained and in awe!

The set list reads like a greatest hits CD with some deep cuts thrown in for good measure, the classics included “Under My Wheels,” “Billion Dollar Baby,” “Poison,” “No More Mr. Nice Guy,” “Dead Babies,” and of course “I’m Eighteen.” The deep cuts that excited Alice’s loyal subjects were: “Bed of Nails,” Raped & Freezin,” and “Muscle of Love.”

His 75-minute show paid homage to his musical career and many of his macabre antics from the 70s. Both longtime fans, as well as first-timers, got more than they bargained this evening. Prior to his performance, I asked Alice about his macabre show; he replied, “My show has a reputation for being different from anything you’ve ever seen. Even if you’ve seen a show before, there will be some new aspects or songs that will be different.” Bassist Chuck Garric mirrored the sentiment, “We always have something to prove, and there is always a new fan in the audience. It’s always somebody’s first concert. I think there is more pressure if you have seen us ten times because you know what to expect. I think it’s important to give it your all every show. I’m giving 110%.”

His band sounded fantastic! They are a tight-knit group that which includes guitarists Ryan Roxie, Tommy Henriksen, and Nita Strauss. You couldn’t get three better guitarists on the same stage who genuinely complimented each. They each bring a unique quality and style of playing that gives the songs dimension and power.

Bassist Chuck Garric who has been with Alice since 2002, bashed out bass lick after lick with sheer brute force while playing soulfully and tastefully in the pocket of Glen Sobel’s drum playing. Each band member received their own time center stage while Alice poked, prodded, and taunted them with swords and canes. Fortunately, they never missed a beat!

For the finale, Lzzy Hale joined Alice and his band for “Schools Out” amidst the swirling confetti and excitement of the fans!

At 71 years old, it’s quite evident that Alice is still a force not to be reckoned with stemming from his charisma that hasn’t changed since the inception of his career. He still dresses the part, commands the stage like a rock star, and packs the vocal ability that fans expect. This show is not to be missed!"


Timesonline
"Alice Cooper + Halestorm rock Burgettstown

BURGETTSTOWN — Alice Cooper and his band took over the KeyBank Pavilion stage Friday on what can only be described as a very hot and sticky night.

As the mercury and humidity pushed upward, the sweat-drenched crowd of early comers got to witness Scranton, Pa. natives, Motionless In White. Lead vocalist Chris “Motionless” Carulli performed in an oversize knit sweater, with sweat dripping from his brow as the blaring sun shone in his eyes.

Next to the stage was a band that has been all the buzz in the past few years, Halestorm, fronted by the enigmatic Lzzy Hale, and backed by her brother and drummer, Arejay Hale. The band stormed through a set that highlighted Lzzy’s vocal chops including “Love Bites (So Do I)”, “Apocalyptic” and the monster hit “Freak Like Me.” The band rounded out a set of 11 songs as the sun dipped below the horizon with the track “I Miss the Misery.”

As day turned to night, the tension in the air grew as thick as the humidity in anticipation that rock icon Cooper soon would take the stage. With a career that has spanned over 50 years and a catalog of both radio hits and fan favorites it must have been a daunting task to create a setlist. But the 71-year-old shock-rocker did fine from a stage featuring his new “Castle Cooper”. The entire stage was decked out as a medieval castle with macabre props and subtle hints of days gone by from Cooper’s illustrious carer. The band flew into “Feed My Frankenstein,” as guitarists Nita Strauss and Ryan Roxie tore through the riffs of the classic metal song. Next up was the anthem “No More Mister Nice Guy”, followed by the late ’80′s hair metal gem, “Bed of Nails.”

The rest of the set followed suit, with “Billion Dollar Babies,” “I’m Eighteen” and “Poison” going down in order. Strauss took center stage and literally shook the foundations of the pavilion during her guitar solo on her custom-designed Ibanze guitar.

At this point the band took a bit of a turn and played a group of somewhat lesser know, but equally impressive songs such as “My Star,” “Black Widow Jam,” and “Steven.” They wrapped up the set with “Teenage Frankenstein.”

The encore began with “Under My Wheels,” and then was highlighted by the most popular and recognizable song in Cooper’s catalog “Schools Out.” Hale joined in on stage, as the song built in a part of Pink Floyd’s “Another Brick in the Wall” where the kids and chanting “We don’t need no education”.”

Overall an impressive performance from a master of his art. Cooper was near perfection and blew me away with his spot-on performance. His band of superb musicians made it look effortless and made us all forget that is was so hot."


Eponymous Review. Com
"Alice Cooper, Halestorm, Motionless in White annihilate Tinley Park


School’s out for summer so, naturally, Alice Cooper was in Tinley Park to celebrate the seasonal freedom from pencils, books and teachers’ dirty looks, bringing his rock spectacle known as the Ol’ Black Eyes Is Back tour to the Hollywood Casino Amphitheatre on Sunday, July 21. Halestorm and Motionless in White completed the face-melting triple bill which had Chicago fans head-banging, cheering and hurling hand horns into the sky throughout the night.

Motionless in White kicked things off with a trio of heavy hitters in “Rats,” “Unstoppable” and “Everybody Sells Cocaine.” Fans of the five piece loved every note and soon the group captivated the attention of even the most aloof members of the crowd.

The band’s front man, Chris “Motionless” Cerulli, pointed out the audience’s growing enthusiasm, adding that it’s cool to have fun during the opening act.


“Spoiler alert. By the time the show ends, you’re going to f*cking love it,” he said, referring to the group’s set, as the band dove into “Brand New Numb” off their 2019 album, Disguise.

When Motionless in White’s set came to a bombastic close with “Voices,” Cerulli’s prophecy had come true.

Halestorm took the stage next, rocking a no-backing tracks allowed set which included “Love Bites (So Do I),” “Do Not Disturb” and a goosebumps-inducing rendition of “Familiar Taste of Poison” during which lead guitarist Joe Hottinger and front woman Lzzy Hale found ample opportunities to shred.

Hale connected with the crowd, saying that the “boss man” Alice Cooper helped her realize, back in the day, that “it’s okay to be yourself.”

“When I was 11 years old, my favorite album was Love It to Death by Alice Cooper,” she said noting that she soon knew that she was not like other girls. “There wouldn’t be a ‘Mz Hyde’ without Alice Cooper.”


Drummer Arejay Hale brought The Strange Case Of… single to an epic climax with a hard and fast solo that continued to build until it seemed he was hitting each drum at once. The only way to top it was to break out “big *ss drum sticks” in honor of his love of Chicago’s “big *ss deep dish pizza.”

If Halestorm’s set was big, Alice Cooper’s was gargantuan in its musicianship, showmanship and stage design, which featured a multi-story layout and a collection of torture devices that sprayed confetti and Cooper cash – during “Billion Dollar Babies” – and held back monsters – in “Feed my Frankenstein.”

“I’m Eighteen” found lead guitarists Ryan Roxie and Nita Strauss – the latter of whom proved her rock Goddess credentials with a sprawling yet intricate solo deeper in the set – going head to head and riff for riff as the crowd sang at the top of their lungs. Cooper got up close and personal with fans as he sang “Poison,” taking time out to muss the hair of particularly venomous members of the audience.

There is a fine line fusing the terrifying with the terrifically fun, and Alice Cooper, Halestorm and Motionless in White provided fans with the chance to reside in that crazy crossroads if only for a night."


Audioink
"Alice Cooper Tour Review: Theatrics + Musicianship Rule on Summer Trek


Alice Cooper and Halestorm brought a dramatic, bloody show to DTE Energy Music Theatre in Clarkston, Michigan

Not many musicians continue to thrill audiences and fill amphitheaters decade after decade, but Alice Cooper certainly isn’t most musicians. From his blockbusters ‘70s and ‘80s rock hits to his latest, 20th studio album, “Paranormal,” Cooper defies the years and continues to stay not only relevant but serve as a trendsetter in the rock and metal worlds.

Throughout the years, Cooper’s live show has helped propel him to the superstar status that he is today, and that was apparent during his jam-packed show Saturday (July 20) at DTE Energy Music Theatre near Detroit, Michigan. The concert was part of his 2019 summer “Ol’ Black Eyes Is Back” tour.

After a rain delay, opener Halestorm kicked off the night around 7:50 p.m. (Motionless In White, who was scheduled to go on before Halestorm, did not perform, due to the delay.) Lzzy Hale took the stage belting an acapella introduction to the band’s hit song, “I Get Off,” and when the rest of the band joined in, the stage exploded with the kind of raw energy that defines the rock ‘n’ roll genre. With a powerful female vocalist and high-energy live show, Halestorm was an apt band to set off the night.

As the sun slowly set, the darkness set the perfect mood for The Coop’s menacing production. Around 9:20 p.m., the black stage curtain came down, revealing Cooper and his roster of seasoned band members ready to rock. Cooper, donning his trademark black eyeliner and shock-rock makeup, powerfully launched into “Feed My Frankenstein,” and the crowd exploded with excitement.

One of Cooper’s most recognizable anthems, “No More Mr. Nice Guy,” followed. As he strutted from one side of the stage to the next, his band members took turns stepping up to the spotlight with their fiery soloing and instrumental aerobics. Guitarist Nita Strauss is charismatic and vibrant onstage, and she deftly swings from one end of the stage to the other, putting on a dramatic presentation with her guitar.

Musically, the set featured hits, such as “I’m Eighteen,” “Poison” and “School’s Out,” with some songs that haven’t been performed live as much, such as “Roses on White Lace” and “Muscle of Love.” The set came complete with all the theatrics fans love about an Alice Cooper show, such as a life-sized Frankenstein during “Teenage Frankenstein” and a bloody bride for “Roses on White Lace.”

From the blitz of Alice Cooper’s first moments onstage to his epic “School’s Out” finale, the Coop’s summer tour delivers a frighteningly fun, powerful, thrilling show that shows why he is everyone’s favorite shock rocker."


Rocknfolk
"Alice Cooper is probably an artist who knows no introduction. He is a true pioneer and a rock and roll survivor who is still going strong. Recently, he partnered up with Halestorm for a massive tour, which brought the two acts across the United States. Cooper and Halestorm are two acts with a rather different background.


The former has been pushing the boundaries and breaking all the rules since the 70s, while the latter is quickly growing into one of the biggest names in the modern hard rock scene. Although some people might argue that these acts are quite different in their sound, it is interesting to see two acts that bring such a diverse dynamic to their setlist. Halestorm just released a raucous new album, and the new songs translate really well in a live setting.

Cooper’s setlist, on the other hand, mostly focused on classic tracks, such as the evergreen rock anthem “School’s Out.” Those riffs really made the whole place shake, and the audience went nuts. As you would expect from such a seasoned act, Alice Cooper has an amazing stage presence, with its lavish outfits and spectacular live band, also featuring Nita Strauss, an excellent guitarist with a mind-blowing set of skills. She knows when to play within the lines and serve the songs. However, she is also a master at improvising and allowing her playing to let loose and wild.

Alice Cooper surrounded himself with talented musicians, and the quality of the show was truly astounding. From the skills of these performers, down to the passion and focus displayed with each song.

Halestorm definitely pulled their weight as well. Big riffs, huge vocal hooks ad larger-than-life song structures. All the ingredients of a great rock band are there, and they certainly know how to cater to the audience. On this tour, the band is definitely taking home an army of new fans.

Even those people who showed up for Alice Cooper alone responded well to Halestorm. This is the kind of band that really lets you enjoy the songs, even if you do not necessarily know them. Their tracks are rock and roll bangers that will make people move with crazy riffs and lots of energy.

Alice Cooper / Halestorm is a dream bill for many, and this tour is definitely one of the hottest to travel through the world this summer!"
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  #1176  
Old 29th July 2019, 06:53 PM
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New interview in the Rochester City Newspaper

"Alice Cooper: Prodigal son


Alice Cooper’s life has been a strange journey that almost parallels a biblical story. The rock icon grew up in the church, abandoned it, almost died, and came back to embrace Christianity. Along the way, Cooper picked up a serious golf habit, established a nonprofit foundation for at–risk teenagers, and crossed paths with a host of famous people. Even at 71 years old, Alice Cooper still means business.

Cooper sounded matter-of-fact during a recent phone conversation, a few minutes before rehearsing with his band for a show in Dubuque, Iowa. He’ll be rolling in to Greater Rochester area on August 7 for a show at CMAC. An edited version of the interview follows.

CITY: When I was a boy, I read your autobiography, “Me, Alice.” It’s probably one of my favorite rock and roll books ever.

Alice: It’s so funny, because that was a great work of fiction. When we were doing “Me, Alice,” we were literally drinking and making things up as we went along. “Alice Cooper, Golf Monster” actually is the real story.

Will you be golfing in Rochester?

Very rarely do I get to a city where I don’t play nine holes. So I will be playing somewhere in Rochester. It’s weird that a character like Alice Cooper would be a two handicap.

How did you develop such a great knack for storytelling?

My dad was a wordsmith. He was a pastor. He couldn’t do a sermon without telling at least three jokes, but they were all appropriate to what the stories were. My dad kept me very sharp. We would challenge each other when I was a kid. He was very sharp and very funny, and I always wanted to be as funny as my dad. So he was sort of my hero when it came to that.

What keeps you going?

I never get tired of it. I’ve never sat there and said, “Maybe I should mellow out.” I think my lifestyle has changed a whole bunch, being married for 43 years with three kids and three grandsons, but that has never watered down Alice Cooper.

Everyone knows about my Christianity, the Solid Rock Foundation — that’s my lifestyle. When it comes to getting onstage and being Alice Cooper, Alice Cooper is still Alice Cooper. When you come to see the show, it’s like going to the carnival and going on that ride you’re not supposed to go on.

What is something you would never do onstage?

You shouldn’t do anything that would get anybody hurt. If anybody got hurt in my show, it was me. They always cut Alice Cooper’s head off. It was never anybody else getting skewered up there, unless it was a baby doll or something like that, which is an inanimate object.

Is creativity something you can turn off, or is it always running in the back of your mind?

When I start an album, my whole idea is that this is going to be the best album I’ve ever written. I don’t think I’ve written my best songs yet. I don’t think I’ve done my best shows yet. I think if you ask Paul McCartney, the same thing: he would say, “No, I haven’t written my best songs yet.” A real artist wants to do something better than the last time. I’ve always felt the next thing is more important than what we’ve done before.

What is at the heart of your appeal?

There was a huge change in my lifestyle when I quit drinking and everything like that. If I had kept doing it, I would have been gone in 1978. I could have easily joined the 27 gang, but I didn’t. God had different plans for me.

The fact that the show has always been the very foremost thing in my mind is that we’ve got to be the best touring band out there and we’ve got to put on the best show of anyone. That has never changed. So when people come to see Alice, we’ve never let them down.

You’ve maintained a sober lifestyle, but as cannabis is being legalized state by state, do you think there is any place for it in the creation or enjoyment of music?

If I were to make one thing illegal, it would be alcohol, not marijuana. If you’re walking down a dark alley, and there are five guys drinking on one side and five guys smoking on the other side, the guys drinking are going to give you hell. They are the ones that are going to beat you up. The guys smoking want to know if you have any Doritos, or “Where did you get those shoes?”

To me, I don’t really see a lot of harm in marijuana myself. I see a lot of harm in alcohol. If marijuana is a gateway drug to something harder, then of course, it’s not good. But I think it’s a lot less of a problem than alcohol is.

Where is the most unusual place one of your songs has been played?

When the “Trash” album came out, we had never been to Greece, and it was number one there for 26 weeks. You go to Iceland, and you find out your album is number one in Iceland and in places you never thought people even knew who you are. I guess hard rock translates to everybody. Hard rock will never go away, I think there is something primal about guitar rock, the way we play it.

The movie “Rumble: The Indians Who Rocked the World” references Native American contributions to rock. You have some Native American ancestry. Do you feel a link to that legacy?

I think there is something extremely tribal about rock. Think of it: it’s all drums. You have an audience that is waiting for you to give them the cue of what to rock to. All rock is based on drum beats, so if you want to take it back to the tribes — the real tribes where we all come from — that’s probably one of the most important things.

I totally believe in sensationalism. You can’t just get up and rock; and you know, bands like The Yardbirds and The Who, they were great at that. But to me, it was “Why not give them a visual show as much as an auditory show.” If you’re going to say, “Welcome to my nightmare,” give them the nightmare. To me it was important to bring the visual to it.

What is the best thing about being Alice Cooper?

I’m starting to think that the longevity of the career is amazing. I’ve got it down so much — being a frontman and a rock singer — that as long as the band is there and I’m healthy, to me it’s the easiest thing in the world."
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  #1177  
Old 1st August 2019, 06:34 AM
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  #1178  
Old 1st August 2019, 04:44 PM
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The dangers of cocaine

An ill looking Alice on stage during the 'missing years', circa 1980 - 1982

Healthier, clean and sober


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  #1179  
Old 3rd August 2019, 06:43 AM
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There is a long interview / feature entitled "Remembering ‘Alice Cooper’ as a band", with quotes from Dennis, Neal and Michael, where they talk about the split and reunion shows at Goldmine Magzine

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Old 6th August 2019, 06:20 AM
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A statue of Alice has been erected at the Wacken festival





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