Alice Cooper Killer

Killer is the fourth studio album by Alice Cooper, released in 1971. Cooper said in the liner notes of Fistful of Alice and In the Studio with Redbeard, which spotlighted the Killer and Love it to Death albums, that the song "Desperado" was written about his friend Jim Morrison, who died the year this album was released. "Halo of Flies" was, according to Cooper's liner notes in the compilation The Definitive Alice Cooper, an attempt by the band to prove that they could perform King Crimson-like progressive rock suites, and was supposedly about a SMERSH-like organisation. The song "Dead Babies" stirred up some controversy following the album's release, despite the fact that its lyrics conveyed an "anti-child abuse" message.

Alice Cooper wasted little time following up the breakthrough success of Love It to Death with another album released the same year, Killer. Again, producer Bob Ezrin was on board and helps the group solidify their heavy rock (yet wide-ranging) style even further. The band's stage show dealt with the macabre, and such disturbing tracks as "Dead Babies" and the title track fit in perfectly. Other songs were even more exceptional, such as the perennial barnstorming concert standard "Under My Wheels," the melodic yet gritty "Be My Lover," and the tribute to their fallen friend Jim Morrison, "Desperado."

Alice Cooper wasted little time following up the breakthrough success of Love It to Death with another album released the same year, Killer. Again, producer Bob Ezrin was on board and helps the group solidify their heavy rock (yet wide-ranging) style even further. The band's stage show dealt with the macabre, and such disturbing tracks as "Dead Babies" and the title track fit in perfectly. Other songs were even more exceptional, such as the perennial barnstorming concert standard "Under My Wheels," the melodic yet gritty "Be My Lover," and the tribute to their fallen friend Jim Morrison, "Desperado." The long and winding "Halo of Flies" correctly hinted that the band would be tackling more complex song structures on future albums, while "You Drive Me Nervous" and "Yeah, Yeah, Yeah" showed that Alice Cooper hadn't completely abandoned their early garage rock direction…