Wed September 18th, 2002
Wed September 19th, 2001
Wed August 16th, 2000
Wed April 21st, 1999
Mon May 30th, 1994
Mon July 1st, 1991
Mon March 26th, 1990
Mon September 18th, 1989
Alice Cooper Live (2001)
Dragontown (2001)
Mascara & Monsters: The Best Of Alice Cooper (2001)
Brutal Planet (2000)
Science Fiction (2000)
Life & Crimes Of Alice Cooper (1999)
Alice Cooper (1968-Present), vocals/theatrics
It's no coincidence that both Alice Cooper and Todd Rundgren were once in different bands named the Nazz. Both groups were inspired by a Yardbirds song entitled "The Nazz are Blue." That song was in turn inspired by a much older song by a jazz character named Richard M. Buckley who was most active in the ’40s and ’50s. A veteran of Vaudeville and innumerable clubs and concert halls, Lord Buckley (as he came to be known) was the charismatic founder of his own religion, The Church of the Living Swing. His first album, 1951's Euphoria, featured a track called "The Nazz," a "hipsemantic" version of the gospel according to Buckley in which he describes Christ as "the sweetest, gonest, wailinest cat that ever stomped on this sweet, swingin' sphere."
Alice Cooper
Few artists in rock history can claim a career as eccentric and influential as Alice Cooper. With his elaborate stage theatrics and lyrics that veer from antisocial to apocalyptic, he was the founding father of shock-rock -- a hemorrhaging, horrorrific missing link between early voodoo daddies like Screamin’ Jay Hawkins and latter day ghouls like Kiss, Gwar, Marilyn Manson and the countless bands they spawned.

Over the years his stage productions have featured guillotines, scaffolds, torture implements, mangled baby dolls and a host of other menacing manifestations including, of course, cameo appearances by Cooper’s beloved boa constrictors. And, while he is most celebrated in metal circles, his artistry appeals to more than metal fans.

When he checked out of rehab in 1978, he collaborated with Bernie Taupin on From the Inside and it is interesting to note that Johnny Rotten auditioned for the Sex Pistols by miming along with a juke box playing "I’m Eighteen" -- an anecdote recounted by Mr. Rotten in the liner notes/introduction he penned for the 1999 Alice Cooper box set, Life & Crimes of Alice Cooper. But his illustrious career hasn’t been limited to the rock arena.

Alice appeared in a holographic work by celebrated surrealist painter Salvador Dali as well as an episode of The Muppet Show. He was a guest on the original Hollywood Squares and the object of much veneration in Wayne’sWorld. Cooper’s Town, his baseball themed restaurant in Phoenix, Arizona, where he makes his home, has become a fixture on the landscape and a magnate for sports and music fans.

Cooper, son of a preacher, was born Vincent Damon Furnier in Detroit, Michigan, and early incarnations of his band included the Earwigs, the Spiders and the Nazz (no connection with Todd Rundgren’s band of the same name). In 1968 Cooper and company relocated to Los Angeles where the band rechristened itself Alice Cooper (according to legend, the name of a 17th century witch reincarnated as Furnier). But it wasn’t long before Alice Cooper the band evolved into Alice Cooper the man.

Despite the fact that Frank Zappa’s Straight Records issued Cooper’s first two albums, the band did miserably, and after a short time it returned to Detroit destitute. It wasn’t long, though, before the enterprising band managed to secure a deal with Warner Brothers Records, and in 1971, it made its major label debut with Love It To Death, which featured the hit that would later launch the career of Johnny Rotten, "I'm Eighteen."

During the ensuing three decades, Cooper has remained a steady force in the rock world. Despite lulls in popularity, the creepy clarity of his vision of rock held perennial appeal for young musicians. In 2000 his cult status was underscored when he was honored with a McFarlane action figure. When he appeared on Rockline in September 2001, he had just released Dragontown, the follow-up to Brutal Planet -- and in the wake of the terrorist attacks of that month the album’s apocalyptic imagery took on new resonance.

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