DECADES APART: 5 Albums 5 Different Decades, 1970, 1980, 1990, 2000, 2010

By: Aaron Pickford, Victor Van Ommen

& Phil Weller

Decades Apart

The idea of Decades Apart is pretty simple. I’ll choose 5 different albums from 5 different decades and I’ll share a little information about them and hopefully you’ll check them out if you haven’t already.   Today is 1970, 1980, 1990, 2000 and 2010.  Whilst some these albums may not all be considered classics, they’re certainly amazing records.  So be sure to check it out.    

Black Sabbath – “Black Sabbath” (1970)

An argument may still remain whether Black Sabbath truly invented heavy metal , however what is true to say, is that Black Sabbath impact and influence on heavy metal music remains unequalled.  Famously recorded in one day, Sabbath’s debut was released on Friday February 13, 1970.  The foreboding title track and “N.I.B” are perhaps the bands most potent examples of Sabbath’s fundamental power.  Indeed if you ask the question, what is doom?  Well you only have to refer to the title track and there you have your answer.  If satan had an anthem, “Black Sabbath” would be that song. Elsewhere on the album are traces of blues and psychedelia. Early reviews of the album according to Tony Iommi’s were “awful”. But in America, “Black Sabbath” sold a million. In the UK, it made the Top 10. And over time it would be acknowledged as a landmark album in the evolution of heavy metal.

The year proceeding would see the band develop further still morphing from the dark masters of  seemingly occult music to a respected hard rock band, who would help create the emerging genre of heavy metal.   Seemingly doing the impossible by today’s standard, the four brummies recorded not one but two classic albums in the 1970, with “Paranoid” following a mere 4 months later, an album that would cause further a tectonic shift in the rock world.   By the time “Paranoid” emerged, clearly Sabbath has developed greater compositional range to their music and their performances on their second album were further step up. 

To give some context to what Sabbath would go onto achieve, in 1968, bassist Geezer Butler and vocalist Ozzy Osbourne were in a band called Rare Breed when a certain unknown guitarist Tony Iommi invited them to form a blues rock group with drummer Bill Ward. This new band would settle on the name Earth, following the recording of some initial demos and some subsequent positive feedback, the momentum of the band was stunted slightly following Iommi’s brief dalliance with Jethro Tull. Iommi would soon return and the group reunited in 1969, deciding upon the new name of Black Sabbath.  In the Autumn 1969, the group was signed to Philips Records and entered the studio with producer Rodger Bain.

“Black Sabbath” was recorded live on the floor in the studio with very few overdubs added ad if you don’t already know the story, due to the loss of a few fingertips, Iommi down tuned his guitar for easier playing, with this new tone giving that synonymous “doomy” effect.

Having been turned on to Black Sabbath by my own Father, listening to this self-titled 1970 is arguably the definitive debut heavy metal record. In terms of a general concept “heavy metal” and it’s development of the genre was moulded not only tone of the music, but because of the band underlying lyrical themes, with Sabbath’s devotion to darker themes that others perhaps  had not dared undertake.  The band’s environment, in terms of living in poverty and career choices being limited to factory worker or petty criminality, Black Sabbath were far removed from hedonism hippie music that was popular when the band formed in 1968, considering themselves a blues band. Instead it is said that Tony Iommi observed the lines that formed at the local movie theatre whenever it showed horror films and remarked that if people were so willing to pay to be scared, perhaps they should try playing evil-sounding music. So with that in mind, they took their name from a Boris Karloff film.  Indeed the title track to “Black Sabbath” capture the essence of horror, with Iommi playing a slow, ominous riff based on the “devil’s tritone,”. The sluggish pacing of the track is truly something to behold and perhaps personifies what is indeed heavy, with the slow and ominous motif becoming the primary influence of the doom metal genre.  There is no filler on this record, “The Wizard” with their inspired use of harmonica, ably backed up by Geezer on bass and a masterful performance from drummer Bill Ward. “Behind the Wall of Sleep,” inspired by psychological horror writer H.P. Lovecraft. “N.I.B.” a Sabbath song for bass-lovers, man that Butler solo and with Osbourne at his mercurial best. 

Sabbath’s cover of “Evil Woman” by Crow was their first single from the album, a straightforward blues rocker and arguably the most accessible song on the record, Sabbath truly but their own stamp on it, particularly with Iommi’s riffs replacing the brass of the original. 

The title of “Sleeping Village” speaks for itself, a sombre dirge with Osbourne crooning over the top of Iommi’s acoustic guitar from the outset. With dramatic shifts in tone throughout, from a 60s inspired jam to the rigid structure of an menacing, plodding riff. “Evil Woman”is up next into another cover, this time in the form of “Warning” originally by The Aynsley Dunbar Retaliation, clocking in at an immense 10m30s, and taking up most of the album’s second side. This track was the least accessible on the album with “Wicked World” completing the album with politically charged lyrics, A politician’s job they say is very high, For he has to choose who’s got to go and die, They can put a man on the moon quite easy, While people here on Earth are dying of old diseases catchy riffs, booming bass guitar and a master class of intricate drumbeats from Ward.  Black Sabbath made music that personified their environment, dealing with the harsher realities of life in their lyrics, married with dark and sinister tone of the guitar and the flawless display by Geezer and Ward.  Sabbath truly have no equal and the next time someone asks you what heavy metal is, reach for your copy of “Black Sabbath” and utter not a word, because this album speaks for itself. 

Diamond Head – “Lightning To The Nations” (1980)

“Lightning to the Nations” also known as “The White Album” is the debut album by British heavy metal band Diamond Head. The album was recorded in 1979 and released on the 3^rd October 1980 through their own label Happy Face Records.  The album stands in history as possibility one of the most influential heavy metal records of all time. Speaking as a Metallica fan, the band first came to my attention, due to their cover of “Am I Evil?” which featured on the “Lighting to the Nations” album.  One can not be certain whether Diamond Head’s  would have remained in heavy metal shadows without their association with Metallica , however this union certainly helped gain the band more widespread attention, given Metallica  covered no fewer than 5 of the 7 songs from the album. To put it bluntly if Metallica fans thought these tracks were cool, the same fans would check out Diamond Head.  Conversely and perhaps unfortunately so, Diamond Head's were associated more as the inspiration to Metallica rather than composing one of the best heavy metal records of all time.  "Lightning to the Nations" combines great guitar-driven elements with epic sounding vocals and a sound unique to them and whilst Diamond Head never reached the heady heights that Metallica would achieve 10 years later, they deserve enormous praise from creating a legendary record, one that would go on to inspire the biggest heavy metal band of all time. 

Megadeth – “Rust in Peace” (1990)

“Rust In Peace” is the fourth album by Megadeth, released on September 24^th 1990.  It feels poignant and only fitting to be discussing this album, given the tragic loss of drummer Nick Menza earlier this year, appropriate then that he be remembered for playing a pivotal role in the creation of perhaps the greatest thrash metal album of them all.  It is safe to say, Megadeth was never the most stable band, disgruntlement of an ousted guitarist from Metallica, which perhaps Mustaine would never recover from, coupled with drug addiction, tragedy and a revolving line up, Megadeth were always on the cusp of creating something huge, but up until this point, the band never quite reached their peak.  Following the release of their 1988 album, “So Far, So Good, So What” drummer Chuck Behler and guitarist Jeff Young would leave the band, to be replaced by Nick Menza and an emerging guitar virtuoso, Marty Friedman, who was known as one half of the speed metal band Cacophony, who also featured Jason Becker, indeed it was the release of Friedman’s debut solo album “Dragon’s Kiss” that piqued Mustaine’s attention, remarking in his biography and I paraphrase that Mustaine was so intimidated by Friedman, it created some anxiety, that he was hiring someone technically superior to him.    Irrespective of this apparent tension, “Rust In Peace” is one of the most technically brilliant thrash albums, indeed it is the sheer technical complexity of the album that would truly define Megadeth and perhaps set a new benchmark for thrash metal standards.

“Hangar 18” and “Holy Wars… The Punishment Due”, with their continuous tempo changes, elegant neo classical inspired solos, along with Mustaine at his magnificent songwriting peak, these two songs would set the tone for the album and inspire it to go down in history as Megadeth’s apex in terms of album output.   Thematically “Rust In Peace” is centered around politics, nuclear warfare, religion, UFOs, and personal issues such as drug and alcohol addiction. “Rust In Peace” is a) an album written by Mustaine at his creative, b) it was performed by members with the technical capabilities of Menza and Freidman members, it is little surprise then that “Rust In Peace” is one of the greatest heavy metal album of all time and the best Megadeth album ever. 

Queens of the Stone Age – “Rated R” (2000)

The year 2000 was a turning point for the stoner rock genre and this had a lot to do with Josh Homme’s band Queens of the Stone Age. Referred too as trance robot music for ladies, the conception of the band was to make the desert sound more widely known and to make something that women could dance to. If you take these two goals and prop them up against QOTSA’s 2000 sophomore album “Rated R,” then there’s no denying that even this early in the band’s career, Homme could already mark this as his second greatest musical accomplishment, the first of course being Kyuss.

Homme was able to turn heads and grab attention. At the time, “Rated R” was something new for the mainstream, while for the heavy underground, those involved felt like they were finally getting recognition. That’s not to say the underground wanted this recognition, but QOTSA was arguably the catalyst for many bands like Red Fang, Mastodon, and Truckfighters to spread the stoner rock gospel and influence a generation of their own.

It’s interesting to note that the year 2000 also saw the release of Limp Bizkit’s “Chocolate Starfish and the Hot Dog Flavored Water,” a record that went on to sell millions and was at the time regarded as a would-be classic. In the meantime, that album has faded from our memory, but “Rated R” continues to mature like a fine wine. So what was it that made QOTSA a band to notice?

The album is 11 songs long and ranges from stoned riffing to catchy grooving. “Rated R” leaned in the direction of experimental rock music without neglecting the need for a strong hook. Different instruments were used and the songs were structured in such a way that they could stand alone as a hit single while simultaneously being an integral part of the album as a whole. The album’s lyrical content was for mature audiences, but that didn’t stop radio stations from playing “Feel Good Hit of the Summer,” regardless of the season. And to top it all off, Homme invited several friends from the desert – amongst which Dave Catching, Chris Goss, Mark Lanegan, and Pete Stahl – to contribute to this masterpiece. With all of these creative minds who came from the same scene, it’s no wonder “Rated R” turned out to be a template for the burgeoning stoner scene which has since then exploded.

Ghost – ‘Opus Eponymous’ (2010)

First impressions are pivotal and from the moment the eerie, mysterious swelling organ chimes of ‘Opus Eponymous’, Ghost have had thousands captivated. Their anonymity, a driving factor in their success, is pure theatre, the cold, occultish feel of Black Sabbath and the horror loving, hip swinging charisma and humour of Alice Cooper potent flavours on this hors d'oeuvre. Yet, where dark, 70s rock whetted the appetite of so many, they juxtaposed all that with the kind of melodies that made ABBA so irresistible. From the human sacrificing stadium rock of ‘Ritual’ to the poetically haunting ‘Elizabeth’ and the beguiling, lofty sounds of ‘Satan Prayer’, while it may not stand as a classic album – especially when compared to the ever increasing quality of their later releases – ‘Opus Eponymous’ provides us with a thrilling first encounter. With the gift of retrospect we can hear their naivety in some ways, this is a band still developing, still laying down the building blocks for a sound that has, today, become truly irresistible.

Uncle Acid & The Deadbeats - 'The Night Creeper' (Album Review)

By: Phil Weller

Album Type: Full Length

Date Released: 04/09/2015

Label: Rise Above Records

 

“Horror films don't create fear. They release it,” – Wes Craven (1939-2015)

‘The Night Creeper’ CD/DD//LP track listing:

1).Waiting For Blood

2). Murder Nights

3). Downtown

4). Pusher Man

5). Yellow Moon

6). Melody Lane

7). The Night Creeper

8). Inside

9). Slow Death

10). Black Motorcade (Hidden Track)

The Review:

Although they may have loosened their grip a little on their true identities, Uncle Acid and his mercurial Deadbeats are still, to borrow a phrase from Sir Winston Churchill, a riddle, wrapped in a mystery, inside an enigma. Their vaporous, vintage fuzz led sound has poured steadily, like smoke from a flickering fire into the underground’s eyes with a slew of steady and palpable releases since 2010’s ‘Vol 1.’ That smoke is now beginning to seep into the periphery of the mainstream too, and the leviathan sized grooves of ‘The Night Creeper’ both emphasises this band’s status as cult champions of the underground and highlights why, like Black Sabbath and Alice Cooper, two of their major influences, their music has a towering commercial potential.    

Much like the Amicus Productions which have inspired a plethora of their noir recordings, their fourth volume sees them unleashing 10 more blood-dripped tracks, like the mysterious Dr. Schreck does to his fellow train passengers with tales of evil and darkness in Dr Terror’s House of Horrors (1965). Each and every composition reeks of fear and makes your skin crawl; these are the monsters that hide under your bed, these are the footsteps that stalk your lonely, dark and cold walk home through dense fog.  The lurching grooves of opener ‘Waiting For Blood’ shadow over you, commanding your attention instantly. An undercurrent of uneasy Hammond organs and other, chilling textures give the album a charming graininess which reverberates the band’s innate cinematic complexion. Aesthetically the album once more gravitates towards that same element once more; each song itself a horror film within a horror film. But with music, the images aren’t there to scare you and so your crooked imagination becomes all too willing to take its place. Through this thought-provoking song writing, they have concocted something remarkable and they’re basing a career out of it.

‘Inside,’ an instant standout the moment it snaked into my ears, builds upon a consistent thump like a poltergeist destroying a house in the night, by the light of a radiant moon. ‘Melody Lane’ is a twisted bop on which stabbing, doom-rock guitars waltz with psychedelic tinges, together sharing a murderous intent.  With a nod towards their earlier, rawer and altogether creepier work on ‘Vol 1.’, ‘Yellow Moon’ draws from Alice Cooper’s ‘Killer’ for a rancid interlude. It’s soft and – alongside the Easy Rider influenced Stonerisms of its predecessor ‘Pusher Man’ – unassuming, but is arguably the most frightening and atmospheric song on the entire album.

In 2015 Uncle Acid find themselves as a well-established act on the cusp of becoming something of a name so to speak, and so this release comes with the albatross of expectation weighing them down in many ways. They now have a recognised sound and here they stick very much to the toil and trouble of their bubbling potion, but manage to collate the focal points of each of their previous albums into one package smartly.  If the record will be met by their adoring fan base with the same hype and admiration 2011’s insatiable ‘Blood Lust’ was, or be deemed as an adequate successor to the robustness of ‘Mind Control,’ only time will tell. What we do know, however, is that it’s another impressive release from this consistently unique and enrapturing Cambridge quartet.   

‘The Night Creeper’ is available here

Band info: Official | Facebook 

Ghost - 'Meliora' (Album Review)

Words: Phil Weller

Album Type: Full-Length

Date Released: 21/08/2015

Label: Loma Vista Recordings

‘Today, Ghost still manage to shock and surprise us in a society where we’ve seen and heard it all before. People are fascinated, fixated even with finding out their true identities. Their music is more powerful than it ever has been too. ‘Meloria’ is a spellbinding listen and one which will see them elevated to greater plains of existence. It affects you, leaves you shaken. They can make you laugh or cry without so much of a flick of the wrist and, although the music we love is basking in something of a purple period right now, a band as potent as this is still a rarity.’

‘Meliora’ CD//DD//LP track listing:

1. Spirit
2. From The Pinnacle To The Pit
3. Cirice
4. Spöksonat
5. He Is
6. Mummy Dust
7. Majesty
8. Devil Church
9. Absolution
10. Deus In Absentia

The Review:

“I like the ephemeral thing about theatre, every performance is like a ghost - it's there and then it's gone” - Maggie Smith

I’ve always viewed Ghost in the same light as I do Alice Cooper. Ever since Papa Emeritus and his Nameless Ghouls appeared on the scene in a shroud of mystery, people have been rapt with unmasking the souls behind the masks, behind the façade. Indeed, this is an age where the internet uncovers practically every ounce of ambiguity about a person’s existence – particularly true in the sense of celebrities. The barrier between fans and their idols is almost non-existent, you can see what Kim Kardashian had for lunch and what bubble bath she’s indulging herself with every single fucking day for instance. Alas though, to this day, despite certain nerdy musos philosophising and theorising about the band’s true identities – even Behemoth’s Nergal has gotten in on the act – there is still a shroud around them. Ghost are a throwback to a bygone era where the mysticism of not knowing the truth was all part of the fun. Personally, I see Ghost in the same vein as Alice Cooper as these are figments of an imagination, the realisation of some audacious real world play. Vincent Furnier, as a being, is far, far removed from the make-up and leather clad persona who prowled stages and was beheaded every night. Once you let yourself believe in this augmented reality, you get swept up in it all and the show really begins.

And so, with the birth of Papa Emeritus III aired one-time only on prime time American TV, we are witnessing a grander Ghost here, with a bigger budget and a more towering ambition to thrill and captivate us all. Just like Alice would.

But of course, ‘Meloria’ is the true focal point here. For all their props and gimmicks, their parallels with that infamous shock rocker run right down to the bones and very fibre of their existence – the music is never anything short of fantastic. This, their third album, is by far their most perfected, established and tantalising record to date. You may very well argue that, if it weren’t for the appeal of their visual aesthetics, the band wouldn’t have reached the dais they are at now. But now they are, no one is claiming they don’t deserve to be there.  

It’s as if their previous releases have been building up to this. Indeed, rumours are circulating like vultures that the first three records were actually all written before they made themselves known unto the unsuspecting world, planning out their path and trajectory like a serial killer meticulously aligning a series of gruesome events in his sordid favour. If that is true, then it makes Ghost an altogether more mesmeric principle. Regardless however, where ‘Opus Eponymous’ showed the side of them driven by both dark occultism and pop sensibilities, 'Infestissumam' was more ambitious, heavier, grander, more polished. Their covers EP ‘If You Have Ghosts’ was, if anything, a reiteration of what exactly the signature Ghost sound is by haunting other’s compositions with their horror film synths, shadowy guitars and, of course, the sermon delivery of Papa Emeritus himself. ‘Meloria’ then, translating to English from Latin to ‘better’ is very much that: Darker, nastier, more evil, these songs are the monsters under your bed at night, ready to strike with a predatory mercilessness.

Death scream synthesizers lead us into ‘Spirit,’ an operatic overture which doffs its mitre to Blue Oyster Cult, Opeth and Cathedral and from there on out the album is arresting and dramatic as the finest Shakespearean tragedy. The lights dim, the actors take to stage and they manage to seep into your very soul. When they hurt, so do you. When they feel elated, illustrated through lofty choruses a la ‘From The Pinnacle To The Pit’ and the REM meets Abba flit of ‘He Is’ (a damningly convincing half-breed I must add), you too are flooded with serotonin. 

If this album were a cancer it would be the worst kind imaginable. It would be Relentless in its decay. The post-mortem would reveal a scrupulous design, intricate in the way riffs, hooks and melodies interweave around your vital organs. ‘Cirice’ is, for instance, a master stroke. Every second of musicianship is choreographed for full effect, they become puppeteers to your emotions brilliantly. That tinkling introduction in no way foreshadows the rip-roaring explosion of doom riffs that follow. That chorus that sounds so Bond Villain yet so disdainfully beautiful all the while, topped off by a keyboard solo which Jon Lord will be listening to from up high and cracking a smile to.    

As an interlude, the harp lonely harp of ‘Spoksonat’ is the perfect pace setter for ‘He Is,’ which is the poppiest Ghost song to date. It could be an outtake from ‘If You Have Ghosts’ in that, had you known no better, you’d think it was indeed a cover of some long forgotten about pop song, such is how convincing the band is here. The Blue Öyster Cult influence is emphasised in the guitar harmonies later on but, as so many times with Ghost, it’s that chorus that is the real shining light in the depths of their otherwise creepy and blood-stained creations. For all their publicity, bolstered through their niche and the compelling mystery that surrounds it – only Uncle Acid & The Deadbeats come close to being as secretive a band as these Ghost do in 2015 – they have music that speaks for itself. Anthems for the people.

A Personal highlight is ‘Mummy Dust.’ From out of the summer sun of ‘He Is’ a chilling winter breeze ices your bones; the riff that drives it like a séance, the raspy, whispered lyrics drawn straight from some sick, candle-lit games with an Ouija Board. Yet, although the songs rides a pale horse, there is a faint glistening trying to reach the surface, a hint of David Bowie elegance lurking. That pomp shines through on the following ‘Majesty’ alongside a hoarse Hammond organ that could so easily be Deep Purple. Another theatrical number – which ones aren’t? – visions of Papa Emeritus’ impassioned body language as he delivers another sermon dominate your imagination. It is evocative as they come. 

It’s at this point in the album it all becomes a bit too much. To hammer home the play metaphor, with the final acts approaching, the tension is on a knife edge. You’ve already been moved so much, through romance and war that when ‘Absolution’s’ main riff comes snaking in, deformed and deadly, you’re practically moved to tears. The puppet strings are being jerked violently now and another chorus as grandiose and melancholic as it is devious only wreaks havoc with your emotions even more. Think ‘Killer’ era Alice Cooper merged with ‘Welcome To My Nightmare,’ this is shock rock with progressive leanings, dripping in occult and aimed at your throat.    

Then a hearse pulls into my road. I’m already on tender hooks. Is this for me? Is this the end? One last, fitting gift from Papa Emeritus and his Nameless Ghouls? They know I’m listening, they’re omnipresent.  Only a band like this could have me literally terrified, sacred out of my skin at such a sight. The timing is impeccable and it makes album closer ‘Deus In Absentia’ (in the absence of god) a horrifying listen. As the choral vocals fade out, I’m at my wit’s end.  Then silence reigns. I don’t know how long for, it could be five seconds or five minutes, it made no difference. I sat there in that silence, barely moving until, at last, I felt those hands let go of my strings and let this puppet rest…until next time.

**

Today, Ghost still manage to shock and surprise us in a society where we’ve seen and heard it all before. People are fascinated, fixated even with finding out their true identities. Their music is more powerful than it ever has been too. ‘Meloria’ is a spellbinding listen and one which will see them elevated to greater plains of existence. It affects you, leaves you shaken. They can make you laugh or cry without so much of a flick of the wrist and, although the music we love is basking in something of a purple period right now, a band as potent as this is still a rarity.

The clergy is at the height of their powers and converts are arriving at the grand oak doors of their church en masse. We are ready to be baptised our Lord and Saviour, we are yours. We are Ghost.  

‘Meliora’ is available here

Band info: Official | Facebook  

Choice Cuts: Alice Cooper - Killer (1971)

The Band:

·         Alice Cooper | Vocals, Harmonica

·         Glen Buxton | Lead Guitar

·         Michael Bruce | Rhythm Guitar, Keyboards, Backing Vocals

·         Dennis Dunaway | Bass Guitar, Backing Vocals

·         Neal Smith |  Drums, Backing Vocals

·         Bob Ezrin | Keyboards

·         Rick Derringer |  additional Guitar, "Under My Wheels"

Review:

Released in 1971, Alice Cooper’s Killer may not be the heaviest record in existence, nor is it your archetypal choice cut from The Sludgelord, but its importance for the bands and albums that followed cannot be overlooked. Jello Biafra & The Melvins have covered ‘Halo Of Flies’, while Johnny Rotten named it the greatest rock album of all time. For me, it saw the classic Alice Cooper line-up (Cooper, Buxton, Bruce, Dunaway and Smith) striking a uncanny balance between epic, progressive pieces, uneasy psychedelia and pop sensibilities. Not an easy feat.

The whole album is wrapped in a mysterious, moody aesthetic that the band has never fully replicated in the same manner beforehand or since. It just seems like the band were really focused as a collective, with ideas flowing and inspiration sparked.  Tracks like ‘Halo Of Flies’, according to Alice Cooper’s liner notes in compilation The Definitive Alice Cooper saw the band embracing King Crimson styled biopics. The dynamic and pace changes throughout the song, along with Cooper’s trademark sharp tongue (all the while kept firmly in his cheek) make it a truly remarkable song.   

Today, the album’s influences remains as prominent as ever. Speaking to Uncle Acid at their recent Manchester date, he waxed lyrical about the album and the importance it has had upon his band’s sound. “Killer’s probably my favourite Alice Cooper album,” he enthused (?). “It’s the last record that had that heavy psychedelic influence. That album is a huge influence on me, especially at the time of writing Volume 1; I was hugely into Alice Cooper at the time."  Alice Cooper was one of the first artists to truly shock and scare, a frightening persona, parents of the time couldn't understand. For the younger generation, he was so far from the norm, so unique that people saw him as a real life horror villain. His legacy is now lived out by hundreds of inspiring artists, most notably Rob Zombie, Marilyn Manson (" He took a girl's name as his first and wears a hell of a lot of makeup. I wish I'd thought of doing that.") and the whole gothic, alternative scene that exploded around that period. 

But further afield, it's the other elements of his sound - not just the image and blood-drenched lyrical content - that have spurned on musicians. His evil psychedelics and stoner friendly aesthetics have paved the way for the likes of Uncle Acid & The Deadbeats and nearly every band that encompasses the horror and doom scenes at the moment.  “Love It To Death” was the first Alice Cooper album I got but I much prefer Killer," continues Uncle Acid. I think you can tell that the whole band were working on that whereas on his later albums the whole dynamic changed when he got a new line-up. Billion Dollar Babies and Welcome To My Nightmare are still great albums but he lost something a little bit after that.” 

Bob Ezrin, such a key player in the success of Alice Cooper’s career, gave the record a whole new texture and life with his production abilities. An album packed with nuances, ingenious panning and deftly utilized effects pedals; its overall sound is cavernous. Trippy and foreboding yet always snarling and in your face, Ezrin’s impact was pivotal. These are immensely layered songs, with sprinklings of instruments around main melodic themes and Neal Smith’s paranoid drumming.  Even the more accessible songs on the record (Under My Wheels, You Drive Me Nervous, Be My Lover) are left basking in a psychedelic haze a la The Moody Blues and Jefferson Airplane. But the result is unmistakably that of Alice Cooper. 

The closing track, “Killer” is spine-chilling. Dennis Dunaway’s uncomfortable bass line, feedback panned brilliantly and used as an instrument in its own right, it’s the soundtrack to a horror film that never was. The haunting drums that make up the finale, built upon by a creepy choir, Alice Cooper’s demented ramblings and Ezrin’s stunning keyboards have provided a foundation for so many bands to follow.  None though, you could argue, have ever quite matched it.  

Words by: Phil Weller

Album details:

Killer is the fourth studio album by Alice Cooper, released in 1971.  The album reached #21 on the Billboard album chart, and two singles made the Hot 100 chart. Since its release, there has been at least 58 versions of this record in various formats. 

“Killer” tracklisting:

1) "Under My Wheels (Michael Bruce, Dennis Dunaway, Bob Ezrin) 2:51

2) "Be My Lover" (Bruce) 3:21

3) "Halo of Flie”" (Alice Cooper, Glen Buxton, Bruce, Dunaway, Neal Smith) 8:22

4) "Desperado" (Cooper, Bruce) 3:30

5) "You Drive Me Nervous" (Cooper, Bruce, Ezrin) 2:28

6) "Yeah, Yeah, Yeah" (Cooper, Bruce) 3:39

7) "Dead Babies" (Cooper, Buxton, Bruce, Dunaway, Smith) 5:44

8) "Killer" (Bruce, Dunaway) 6:57