Tom Cooper

Give him points for persistence: Alice Cooper just won't quit. He's seen it all from the bottom to the top – and done the trip more than once – but still continues on his merry-morbid way, punching out albums like a spry young'un. The first thing one has to say about The Eyes of Alice Cooper is thank Jehovah and all his witnesses that the Mascara'd One has grown out of his metal/industrial phase. That look just never took. Discs like Brutal Planet (2000) and the somewhat better Dragontown (2001) offered little to his legacy or his legion of fans – aside from nascent headbangers discovering the Coop for the first time. Eyes harks back to Alice's overly maligned early-'80s discs Special Forces and Flush the Fashion – albums that suffered by comparison with his landmark '70s releases but remain far more musically appealing than the aforementioned new-millennium fare.

Trash is the 18th studio album released by Alice Cooper in 1989. The album featured "Poison", Cooper's first top ten hit since his single "You And Me" in 1977. After Alice's return to the music industry in 1986 with the successful tour "The Nightmare Returns", Cooper had sought assistance from Desmond Child to create a comeback album. Trash became one of Cooper's biggest albums, accompanied by music videos for "Poison", "Bed of Nails", "House of Fire", and "Only My Heart Talkin'". A successful year-long worldwide concert tour in support of the album was documented in the home video release Alice Cooper Trashes The World. Additionally, much of the album conveys a sexual theme.

2017 three CD collection. In the early 70's, Alice Cooper was a five-member band that became one of the biggest exponents of glam rock and whose fame reached global proportions, with gold and platinum albums around the world. In 1975, the band broke up and Alice Cooper became a solo artist. The Many Faces Of Alice Cooper digs deep into the band's story and compiles for the first time in one single album, the works of the members of Alice Cooper after the breakup, in addition to paying homage to their impressive repertoire. We started with Michael Bruce.

Welcome 2 My Nightmare is the 26th studio album by Alice Cooper, released in September 2011. The idea for the album came about soon after the thirtieth anniversary of the original Welcome to My Nightmare album, while Cooper was talking with producer Bob Ezrin, who proposed the idea of a sequel to Welcome to My Nightmare. Cooper liked the idea, and decided to recruit previous members of the Alice Cooper band.

At a time when many of the forgotten bands of the '70s began to resurface, Alice Cooper released Constrictor in 1986, his first album in three years. The album attempts a fresh start, which made sense, since Cooper suffered physically, creatively, and commercially over the past decade due to changing trends and alcoholism, which left his latest releases void of the energy that had made Killer and Welcome to My Nightmare so popular. For the most part, Cooper succeeded in re-establishing himself – this is arguably some of the best work he put forth in years. Nothing comes close to the songs he recorded in his '70s heyday, but what's here is surprisingly lively and sharp-witted: "Simple Disobedience" is a catchy anthem of rebellion, and "Teenage Frankenstein" is a straightforward, amusingly melodramatic rocker.

On this album, compiled by former Meat Loaf sideman and one-time Cooper touring guitarist Bob Kulick, members of metal's biggest bands pay tribute to the artist formerly known as Vincent Furnier. New life is breathed into Cooper's classic tunes as hardheads such as Alice in Chains ' Mike Inez, the Who's Roger Daltry, Iron Maiden's Bruce Dickinson, and Slash rework (and add their own distinctive licks to) "No More Mr. Nice Guy," "Billion Dollar Babies," and the anthem for graduating seniors everywhere, "Schools Out." The most unexpected contribution, however, comes from former Deep Purple bassist Glen Hughes, who after spending most of the '90s off the radar screen, wrings out a wickedly dramatic version of "Only Women Bleed," Cooper's dark paean to feminism.