Tag Archives: Alice Cooper

69 with Alice Cooper?

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It was Alice Cooper’s (who’s real name is Vincent, by the way) birthday recently. Hilariously, he turned 69. I didn’t do a blog about it then because, well, I had more important stuff to do. Now, though, I have a small gap he can fill. Ahem. To me he’s always been a bit of a parody, something that’s reflected in his image and OTT stage theatrics. It also comes across in his lyrics and song titles, some of which are cheesy, some derivative, some pervy, some borderline disturbing, and some just plain funny, whether intentionally or not.

I didn’t want to do just another tribute. I wanted to do something different and fun, which maybe hasn’t been done before. So here it is…

Top 10 Most Ridiculous Alice Cooper Song Titles Ever!

(and where you can find them)

10: Muscle of Love (Muscle of Love, 1973)

9: Earwigs to Eternity (Pretties for You, 1969)

8: Every Woman has a Name (Dragontown, 2001)

7: I’m the Coolest (Alice Cooper Goes to Hell, 1976)

6: You Look Good in Rags (Special Forces, 1981)

5: Mr. and Misdemeanor (Easy Action, 1970

4: I’ll Bite Your Face Off (Welcome 2 My Nightmare, 2011)

3: Take it Like a Woman (Brutal Planet, 2000)

2: I Never Wrote Those Songs (Lace & Whiskey, 1977)

1: Thrill my Gorilla (Constrictor, 1986)

Most Ridiculous Alice Cooper Album Title:

Zipper Catches Skin (1982)

What I Learned whilst Writing this Post:

1: Alice Cooper’s career didn’t end after 1989’s Trash, but probably should have.

2: He and Steve Carrel might actually be the same person.

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BABYMETAL – Metal Resistance (album review)

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To steal a phrase from Roger Shackelford of Tainted Reality, ‘Is it weird to like BABYMETAL?*’

The answer is ‘Yeah. Probably.’

For the uninitiated, BABYMETAL are a manufactured J-Pop/thrash metal crossover act group comprising of a trio of teenagers in tutu’s and a backing band wearing corpse make-up and white flowing gowns. At first glance, it’s hard to take them seriously. I never liked Japanese music before. Or Chinese. Or Korean. It’s mostly horrible and you have no idea what they are singing about. But, God forgive me, I do like BABYMETAL. I just can’t put my finger on why.

Let’s not beat around the bush. They are weird with a capital W. They have a whole invented mythological back story about a Fox God sending them out into the universe to save heavy metal, and on their last tour they pretended to crucify the singer Su-Metal live on stage while the other two girls Moa-Metal and Yui-Metal danced around inanely. The theatrical element borrows heavily from the likes of Alice Cooper and Kiss, and it certainly adds something extra to their live performances. They’ve been huge in Asia since forming in 2010 and since then have slowly began to make their mark internationally, especially on the summer festival circuit. The video for Give me Chocolate has racked up over 46 million views on YouTube (only about half of which are mine) and last week they played a sold-out SSE Wembley Arena in London to kick off their 2016 tour in support of album number two. Metal Resistance was released on 1st April which they dubbed, ahem, Fox Day. And no, it wasn’t an April Fool.

Metal Resistance kicks off with the anthemic title track, whch has been a staple in their live set for a while now, before launching into Karate, the first single. Karate is typical BABYMETAL, pop sensibilities laid over a crunching guitar riff. That’s followed by Awadama Fever, which I think is about bubblegum gum. No, really. Don’t let that fool you, though. As with the first album, these songs have depth and creativity, seamlessly veering from speed metal to something akin to raggae or dubstep in the blink of an eye. The contrast, and the overall effect, is mesmerizing. Whoever writes these songs is truly gifted. As are the backing musicians, the Kami band. Listening to the album you would perhaps think the sound is a result of studio overdubs and fancy knob twiddling. But that’s not the case.

Look…

See? How tight is the Kami band? They have to be one of the most technically proficient outfits around today. And did you see that circle pit go off? Dear me. Anyway, back to the album, and another early highlight is Meta Toro, which sounds suspiciously like a nursery rhyme with marching drums and death metal growls. I told you it was weird. The track GJ features some frankly awesome fretwork and yet another killer chorus while Sis Anger is obviously a nod to Metallica. At least somebody liked St Anger. The pace relents toward the end for the lighters-aloft ballads No Rain, No Rainbow and The One, but sandwiched between them is something called Tales of the Destinies, possibly the most experimental track on the album, which sounds a bit like Dragonforce on crack. In his review for Classic Rock magazine, Stephen Dalton said, “Sometimes overwhelming, always exhilarating and occasionally jaw-dropping, Metal Resistance could well be the greatest album ever made.”

And he wasn’t even kidding. At least, I don’t think he was.

At the end of the day, I think if you try to explain to someone what BABYMETAL is, they would probably think you’ve lost your mind. But somehow it all fits together, and it works surprisingly well. The musicianship, the image, the choreography, the songs, the message, even the contribution of the Fox God. The whole operation is a finely tuned machine founded on raw talent, and this ‘difficult’ second album at least proves that the success of the debut wasn’t a one-off. If anything, Metal Resistance features an even stronger set of songs, with more depth and clarity. Undoubtedly another step on the road to world domination. Bow down, all ye unbelievers. Resistance is futile.

*Just so you know, BABYMETAL is stylised in BLOCK CAPITAL LETTERS. I don’t just get really excitable when I say their name. Although, I kinda do.


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