IT WAS FIFTY YEARS AGO TODAY… A LOOK BACK AT THE MUSIC OF THE SUMMER OF LOVE

The Summer of Love (San Francisco, 1967) (photo credit: SAN FRANCISCO CHRONICLE ARCHIVES)

The Summer of Love (San Francisco, 1967) (photo credit: SAN FRANCISCO CHRONICLE ARCHIVES)

It’s hard to believe that this summer marks the 50th anniversary of the so-called “Summer of Love,” highlighted by a major explosion of influential rock acts, mind-expanding music and… oh, yeah!… there was that landmark Beatles album, SERGEANT PEPPER’S LONELY HEARTS CLUB BAND. 1967 was a watershed year for music; a year which saw the release of several important debut albums and a slew of downright great rock ‘n’ roll records.

Big Brother and the Holding Company (James Gurley, Sam Andrew, Janis Joplin, Dave Getz, Peter Albin) (publicity photo) Grateful Dead (Phil Lesh, Jerry Garcia, Bill Kreutzmann, Bob Weir, Ron McKernan) (photo credit: HERB GREENE)

Big Brother and the Holding Company (James Gurley, Sam Andrew, Janis Joplin, Dave Getz, Peter Albin) (publicity photo) Grateful Dead (Phil Lesh, Jerry Garcia, Bill Kreutzmann, Bob Weir, Ron McKernan) (photo credit: HERB GREENE)

The Doors’ first album came out early in the year, along with another important first step in the psychedelic movement, as SURREALISTIC PILLOW by the Jefferson Airplane, Grace Slick’s debut with the band. The Grateful Dead followed with their first album about a month later. At the same time, the Godfathers (and Godmother) of punk and alternative rock hit the ground running with the Velvet Underground’s opening salvo. Janis Joplin got some attention as the new singer for Big Brother and the Holding Company, while a former US Army paratrooper, ex-pat who also played a little guitar released his first album, ARE YOU EXPERIENCED, as front man of the Jimi Hendrix Experience. The Beatles came out with their magnum opus, SERGEANT PEPPER’S… on the first day of June; while they were recording what many consider the greatest album of all time, a band called the Pink Floyd were also working at Abbey Road Studios, just down the hall from the Fab Four, on their first album, Syd Barrett’s psychedelic masterpiece, THE PIPER AT THE GATES OF DAWN. Late in the year, Cream, Traffic, Buffalo Springfield and the Who gave us still more great music (in the forms of DISRAELI GEARS, MISTER FANTASY, BUFFALO SPRINGFIELD AGAIN and THE WHO SELL OUT, respectively). The Monkees, the Beatles, the Turtles, Aretha Franklin, the Box Tops and Lulu all hit the top of the singles charts with unforgettable tunes throughout the year. The year 1967 was, indeed, a watershed year for pop music and the year that rock and roll grew up, expanding musical limits and young minds the world over.

PINNACLE

THE BEATLES: SERGEANT PEPPER’S LONELY HEARTS CLUB BAND

SERGEANT PEPPER'S LONELY HEARTS CLUB BAND; The Beatles (Ringo Starr, John Lennon, Paul McCartney, George Harrison) (publicity photo)

SERGEANT PEPPER’S LONELY HEARTS CLUB BAND; The Beatles (Ringo Starr, John Lennon, Paul McCartney, George Harrison) (publicity photo)

Obviously, SERGEANT PEPPER’S LONELY HEARTS CLUB BAND is the standard by which all music released in 1967 (and, in fact, in the fifty years since) is measured. The album was a big surprise when it came out… lots of folks actually thought the Beatles might be breaking up because they hadn’t released anything new since February, with the single “Strawberry Fields Forever” (and, their last album, REVOLVER, hit the streets nearly a year earlier, in early August, 1966). Ironically, the John Lennon-penned “Strawberry Fields… ,” the very first song the Lads worked on for the album, didn’t even make the final cut. SERGEANT PEPPER’S was a true product of the great working relationship between the Beatles and their producer, George Martin, who took the band’s brilliant pop songs and grandiose ideas, molded them into a cohesive orchestral whole and just made everything work… beyond anyone’s wildest dreams. The record’s last track, “A Day In the Life,” was immediately recognized as one of the Beatles’ best and most important songs; Lennon’s dreamy vocals at the start are still as haunting as ever and Paul McCartney’s amazing bass playing stands out, as it does throughout the entire album. Over the past fifty years, the Fab Four’s eighth full-length is as well known for the amazing cover by artist Peter Blake as for the thirteen tracks found within the sleeve; the songs, the performances, the production and the visuals all gelled to make SERGEANT PEPPER’S LONELY HEARTS CLUB BAND the single most memorable moment in the annals of not only popular music, but popular culture as a whole. Rock and roll and pop music would never be the same; the rock medium, in particular, would move away from looking at an album as merely a collection of singles to a well thought-out, cohesive set of songs, sequenced to be enjoyed in its entirety. I was just thirteen years old when the record came out and, even after five decades, I still appreciate and still enjoy all the great music that came from that “Summer of Love.”

TOP OF THE POPS: FIVE ALBUMS THAT CHANGED THE LANDSCAPE OF POP MUSIC

JEFFERSON AIRPLANE: SURREALISTIC PILLOW

SURREALISTIC PILLOW; Jefferson Airplane (Jorma Kaukonen, Jack Casady, Grace Slick, Spencer Dryden, Paul Kantner, Marty Balin) (uncredited photo)

SURREALISTIC PILLOW; Jefferson Airplane (Jorma Kaukonen, Jack Casady, Grace Slick, Spencer Dryden, Paul Kantner, Marty Balin) (uncredited photo)

First and foremost, Jefferson Airplane’s SURREALISTIC PILLOW, their first with former Great Society singer Grace Slick, proved beyond any shadow of a doubt that a woman could rock the house down with the seminal Society leftovers, “Somebody To Love” and “White Rabbit.” Grace quickly ascended to become one of, if not THE premier rock vocalists of her time. With Slick on board, the Airplane were quite successful, both commercially and critically, for several years, while “Somebody To Love” and “White Rabbit” have become radio standards. Jefferson Airplane became one of the symbols of a new era in rock music with the psychedelic folk of SURREALISTIC PILLOW. I still enjoy listening to it.

THE VELVET UNDERGROUND AND NICO: THE VELVET UNDERGROUND AND NICO

THE VELVET UNDERGROUND AND NICO; The Velvet Underground (Nico, Andy Warhol, Maureen Tucker, Lou Reed, Sterling Morrison, John Cale) (publicity photo)

THE VELVET UNDERGROUND AND NICO; The Velvet Underground (Nico, Andy Warhol, Maureen Tucker, Lou Reed, Sterling Morrison, John Cale) (publicity photo)

The Velvet Underground’s debut – “produced” by Andy Warhol and featuring (at Warhol’s behest) Teutonic femme fatale, Nico – didn’t really hit me until years later, but the record’s influence was very important to many of the groups that I got into in subsequent years. The original group – Lou Reed, John Cale, Maureen (Mo) Tucker and Sterling Morrison – took quite a different approach to the commercial rock scene; their avant-garde sound, highlighted by great playing became the cornerstone that indie and alternative rock would build upon in the years since. As is often said, it may not have sold many copies, but everybody that heard it wanted to start a band; were the true alternative to pop music and started an underground rock movement that continues to reverberate throughout the music world.

THE DOORS: THE DOORS

THE DOORS; The Doors (Robbie Krieger, Ray Manzarek, John Densmore, Jim Morrison) (photo copyright: JOEL BRODSKY)

THE DOORS; The Doors (Robbie Krieger, Ray Manzarek, John Densmore, Jim Morrison) (photo copyright: JOEL BRODSKY)

Another band that dabbled in the darker side of the musical spectrum was the Doors, perhaps darker even than the Velvets. Of course, the quartet’s first album featured the classic rock fixture, “Light My Fire,” which propelled a tragic rock god, Jim Morrison, into a larger-than-life cult figure, but it was songs like the eleven-and-a-half minute epic, “The End,” that truly defined the band. Eight months later, the group’s second record, STRANGE DAYS, cemented Morrison’s shamanistic standing with “People Are Strange,” the evil intent of Moonlight Drive,” “Love Me Two Times” and another dark epic, “When the Music’s Over.” My favorite Doors album is actually MORRISON HOTEL from a couple of years later, but the groundwork was definitely laid on their classic first album.

THE JIMI HENDRIX EXPERIENCE: ARE YOU EXPERIENCED

ARE YOU EXPERIENCED; The Jimi Hendrix Experience (Noel Redding, Jimi Hendrix, Mitch Mitchell) (publicity photo)

ARE YOU EXPERIENCED; The Jimi Hendrix Experience (Noel Redding, Jimi Hendrix, Mitch Mitchell) (publicity photo)

Jimi Hendrix, Mitch Mitchell and Noel Redding hit big with their debut record, ARE YOU EXPERIENCED, though I didn’t get into Hendrix until a few years later. Jimi took the world by storm, becoming rock’s big guitar hero, virtually supplanting England’s rock gods, Eric Clapton, Jeff Beck and Jimmy Page, soaring to ever greater heights in a meteoric four year career. Tragically, Hendrix, Jim Morrison and Janis Joplin, along with the Rolling Stones’ Brian Jones all passed on within a couple of years of each other (between July 1969 and July 1971), becoming the first “official” members of what would come to be known as popular music’s “27 Club.”

PINK FLOYD: THE PIPER AT THE GATES OF DAWN

THE PIPER AT THE GATES OF DAWN; Pink Floyd (Syd Barrett, Nick Mason, Richard Wright, Roger Waters) (photo credit: ALAIN DISTER PHOTOSHOT)

THE PIPER AT THE GATES OF DAWN; Pink Floyd (Syd Barrett, Nick Mason, Richard Wright, Roger Waters) (photo credit: ALAIN DISTER PHOTOSHOT)

Finally, we have the first record from the Syd Barett-led Pink Floyd, THE PIPER AT THE GATES OF DAWN, a group and an album that was the impetus for the Progressive Rock movement, which would spawn such acts as King Crimson, Yes, Genesis and Emerson, Lake and Palmer, among others down the road. Oddly enough, the Floyd were recording their debut down the hall at Abbey Road Studios where the Beatles were producing their masterpiece. SERGEANT PEPPER’S LONELY HEARTS CLUB BAND was inspired by Brian Wilson and the Beach Boys’ PET SOUNDS album which, in turn, was inspired by the Beatles’ own RUBBER SOUL. How much did what John, Paul, George and Ringo were doing in that neighboring studio inspire Syd, Roger, Rick and Nick? That’s what made the music of the era so memorable… groups and artists could no longer afford to stand on their laurels, they were continually pushed by others to up their game, to progress and change. For fifty years (and counting), that has been the lasting legacy of SERGEANT PEPPER’S… .


JIMI: ALL IS BY MY SIDE

(XLRATOR MEDIA/DARKO ENTERTAINMENT/FREEMANFILMS/MATADOR PICTURES (118 minutes/Rated R); 2014)

JIMI: ALL IS BY MY SIDE cover

When this movie was originally announced, there were grumblings and, in the case of Experience Hendrix (the company formed by some members of the Hendrix family to oversee everything Jimi), outright venom spewed at director/writer John Ridley, actor Andre Benjamin (Andre 3000 of the hip-hop/pop/rock duo, Outkast) and others associated with the project. The Experience Hendrix people demanded complete participation and final approval on every aspect of the movie, including who would play Jimi; they were adamant that Benjamin be replaced. When their demands were rebuked, they pulled all licensing of Hendrix’ music for use in the film. Feathers were also ruffled by the portrayal of certain of the man’s character traits and, no doubt, the characterization of his father, Al. I could never really understand the family’s dislike of Mister Benjamin but, I have read some rather ludicrous comments from others on the subject: Andre, according to one person, was several shades too dark to accurately portray the lighter skinned Hendrix (that one just absolutely boggles the mind); another cited Benjamin’s age (somewhere around 37 when filming began), stating that he was too old to play a 23 year old Hendrix (uh… that’s just ridiculous… let’s examine, shall we? The four high school kids from WELCOME BACK, KOTTER were all in their twenties when the series began – John Travolta was the youngest, at 21; Ron Pallilo was 26 and only four years younger than his “teacher,” Gabe Kaplan. That’s just one example… this kinda stuff happens regularly in movies and television), but if 60 is the new 40, then 40 is the new 27 and, suddenly, 37 isn’t so far removed from 23. Another… I’m gonna call it an “observation” that I’ve read (and heard from friends) is the fact that Andre is a “hip-hop” guy and, well, he couldn’t know anything about Jimi Hendrix (ay, caramba! I give up!). Of course, the major complaint is the fact that the film-makers could not use any of Jimi’s music. So, how does the movie stack up against all of that hate? Very well, thank you.

JIMI: ALL IS BY MY SIDE ( Andre Benjamin and Imogen Poots) (photo credit: PATRICK REDMOND)

JIMI: ALL IS BY MY SIDE ( Andre Benjamin and Imogen Poots) (photo credit: PATRICK REDMOND)

Before getting into the meat and taters (so to speak) of the film, I would like to address several of the issues listed above. Let’s start with the biggie: Jimi’s music. The ban was limited to actual recordings of Hendrix and to songs that he wrote. The former really had no bearing on the production, as the music was performed by a crack group of session men (guitarist Waddy Wachtel, bassist Leland Sklar and drummer Kenny Aranoff), with vocals by Benjamin; the latter would have been devastating had the movie focused on Jimi’s legendary career past June 1967, because during the time span featured (June 1966 through June 1967), Hendrix had only released one album (ARE YOU EXPERIENCED in May ’67) and three singles (sure, two of those were “Purple Haze” and “The Wind Cries Mary,” but those also came out in May ’67). So, the music focuses on the time that Hendrix played rhythm and blues standards with Curtis Knight and such classic blues numbers as “Killing Floor” and “Manish Boy.” As far as I’m concerned, that works fine for me and plays into the narrative of Hendrix’ rise to stardom in England during that twelve-month period. The Hendrix family, no doubt, wanted to avoid much of the foibles and the darker side of, not only Jimi, but his father, as well; I gotta admit that I was shocked by a couple of violent outbursts in the film but, who among us can say they are foible-free and don’t possess a darker side to some extent? Now, as far as Andre Benjamin’s skin-tone, if he were a white guy in black make-up, I would see that as a definite problem; since, however, the performance and the voice and the mannerisms are the important thing here, I’m good, as Andre was spot on, based on just about every film clip I’ve ever seen or every audio clip that I’ve ever heard of Jimi Hendrix… except the hands… for some reason, the way he holds and plays the guitar and the way he uses his hands throughout just doesn’t match up with what Hendrix did. You saw my feelings regarding the age discrepancy, so we’ll move on from there to Andre 3000 being a hip-hop guy and not knowing anything about Hendrix. Really? I’m a pasty white guy from the middle of nowhere who grew up in the ’60s and ’70s as a pasty white kid from the middle of nowhere, but I know and love a wide variety of music and artists from the ’50s and earlier. And, hey, just to make that particular section of the populace even crankier, I listen to hip-hop, too.

JIMI: ALL IS BY MY SIDE (Andre Benjamin) (photo credit: PATRICK REDMOND)

JIMI: ALL IS BY MY SIDE (Andre Benjamin) (photo credit: PATRICK REDMOND)

If I have one complaint about JIMI… it’s that it tends to jump around a bit much, leaving a lot of the context of what’s happening up to the viewer (a noble tactic for a horror movie… not here). There are also several stop frames, where a character is identified (Keith Richard, Chas Chandler, Noel Redding) before moving into whatever scene is up next. The whole thing rather reminds me of an old John’s Children song called “Jagged Time Lapse,” which the songwriter, when asked what the title meant, replied, “It’s about jagged lapses of time, innit?” The movie starts at the end, on June 4, 1967, as the Jimi Hendrix Experience are about to take the stage at the Saville Theatre in London (of which, more later). We are quickly transported in time back one year, to the Cheetah Club in New York, where Jimi is playing with Curtis Knight. One of the audience members is the very bored, very spoiled girlfriend of Keith Richard, Linda Keith (played by the beautiful and unfortunately named Imogen Poots), who is immediately taken with the man hiding in the back corner of the stage, just waiting for his solo to come around. Flash forward to Linda turning Jimi on to acid and, later, trying to make him see just how gifted a musician he really is. When he tells her that he can’t leave Knight’s band because the guitar he’s using belongs to his employer, she buys him the white Gibson that would become somewhat of a trademark during those early days. As Linda becomes more involved with Hendrix, she begins to contact the movers and shakers within her circle (the Rolling Stones’ manager, Andrew Loog Oldham, co-founders of the newly formed Sire Records, Seymour Stein and Richard Gottehrer), actively seeking a management and recording deal for him. In a particularly humorous (and somewhat ironic) scene, the Stones’ guitar player, in a petulant pique of jealousy, visits Linda’s father to have him intervene in the situation with Jimi; Keith tells Mister Keith, “And he’s a drug addict. Did you know that? He has her strung out all the time.”

JIMI: ALL IS BY MY SIDE (Haylet Atwell and Andre Benjamin) (photo credit: PATRICK REDMOND)

JIMI: ALL IS BY MY SIDE (Haylet Atwell and Andre Benjamin) (photo credit: PATRICK REDMOND)

A chance meeting with Animals bassist Bryan “Chas” Chandler, at the end of an American tour (and the end of the original Animals line-up), finally garners Linda the guidance for Jimi’s career that she has been seeking: Chandler (played by a virtual doppleganger, Andrew Buckley) is retiring from playing and moving into management. The scene where Chas first hears Hendrix is an absolute priceless moment in the film, with Chandler’s eyes wide and jaw dropped as he’s mesmerized by the guitarist’s ability (if not his stage presence). Linda sets up a meeting between the two rockers and, literally, history is made as Chandler convinces Jimi to head for the much greener pastures of England, with promises of a much more diverse and open-minded approach to the burgeoning music scene there. Jimi arrives in London on September 24, 1966 but, still waiting for his work visa to be approved, his playing time is limited to a couple of minutes onstage. As Chas, Linda and Jimi make the rounds at all of the local clubs, Jimi is noticed by Kathy Etchingham (played by Marvel’s AGENT CARTER, Hayley Atwell, who, it should be noted, doesn’t look anything like Chas Chandler); likewise, Kathy is noticed by Linda, who becomes violently jealous when she catches the pair in bed together later that night (or, six weeks later… jagged time lapses, remember?). Linda simply picks up the guitar she had given Jimi and walks out the door as Jimi implores, “No, Linda, no. Not the guitar.” Kathy is elevated past groupie status to girlfriend, as she and Jimi are virtually inseparable; Linda realizes that her jealousy was misplaced (she and Jimi, though very good friends, were never anything more) and returns the guitar (actually, a pawn ticket for the guitar) and all seems right in the world of Jimi Hendrix.

JIMI: ALL IS BY MY SIDE (Tom Dunlea, Andre Benjamin and Oliver Bennett) (photo credit: PATRICK REDMOND)

JIMI: ALL IS BY MY SIDE (Tom Dunlea, Andre Benjamin and Oliver Bennett) (photo credit: PATRICK REDMOND)

As Hendrix and Chandler marched inextricably toward a return to the States and the legendary performance at the Monterey Pop Festival, there were, of course, several memorable events – all well documented – in those final months in London. Jimi needed a band; Jimi wanted a power trio like his idol, Eric Clapton, had with Cream. The auditions to find the perfect bass player and drummer, complimentary and exemplary players who could do what Jimi’s music and style demanded of them, were on. Noel Redding was tapped for the bassist position as much for his hair (“I like your hair, man. It’s wild, like Bob Dylan’s.”) and his vast musical knowledge as for his playing. In fact, Redding, a guitarist by trade, knew nothing about playing bass. When he asks how much the gig payed, Jimi tells him that everybody was broke, but that was cool: “Might as well hang out with us and be broke… and cool. It’s better than being just broke.” Feeling himself well on the way to being a rock star, Jimi calls his father, in Seattle to tell him the good news; his father is not impressed and, once more sensing that feeling of abandonment from his father, Jimi becomes moody and combative with those around him, who are only looking out for his best interests. Fulfilling a promise, Chandler takes Hendrix to see Cream at the Regent Street Polytechnic on October 1, 1966. Chas tells him that Clapton will meet him before the show; Jimi has him ask if he can sit in. This is one of the most famous first meetings in rock history; Hendrix plugs into Jack Bruce’s bass amp and asks the group if they know “Killing Floor,” starting the song cold, leaving Clapton, Bruce and drummer Ginger Baker to catch up. Bruce and Baker find the groove, but Clapton walks off stage without playing a note. Backstage, Eric asks Chandler, “Is he really that good?” Still searching for the third member of what was now to be known as the “Jimi Hendrix Experience,” Hendrix, Redding and Chanadler are debating the merits of the two finalists for the position. John “Mitch” Mitchell wins a hard fought battle over Aynsley Dunbar via a coin flip. Suddenly, we’re back to the beginning, with the band getting ready to take the stage at the Saville on June 4, 1967. With George Harrison and Paul McCartney in attendance, the Jimi Hendrix Experience would open the show with the just-released Beatles track, “Sergeant Pepper’s Lonely Hearts Club Band,” a gutsy move, but one that works. As he plugs in, Jimi turns to the crowd and, pointing to his ears, says, “Watch out for your ears.” The only thing that didn’t work for me in this scene was the guitar Hendrix was playing. I’ve seen film and photographs of the show and he was playing that white Gibson, not the painted flying V shown in the movie. A little artistic license, I suppose, wanting to show off another one of the man’s iconic guitars.

JIMI: ALL IS BY MY SIDE (Imogen Poots; Andre Benjamin; Ruth Negga) (photo credits: PATRICK REDMOND)

JIMI: ALL IS BY MY SIDE (Imogen Poots; Andre Benjamin; Ruth Negga) (photo credits: PATRICK REDMOND)

I usually don’t go into such detail when reviewing a film but, as I said, much of this is canon as far as Jimi Hendrix is concerned. But… what about the movie itself? Andre Benjamin catches the essence of the young guitarist perfectly (except, as I mentioned, the hands), capturing especially well the phrasing and nuanced vocal patterns of the soft spoken Hendrix; most of the well-known people shown (mostly in cameos) look astonishingly like the real deals, which is an instant plus. The cast is superb, from top to bottom, including Ruth Negga (the girl in the flowered dress, Raina, in Marvel’s AGENTS OF SHIELD), who has a pivotal role as Ida, a woman wanting Jimi to use his fame as a catalyst for a racial uprising (Hendrix’ response is beautifully poetic and one that should be used universally); of course, like Kathy, she, too, is a groupie looking to bed another rock star. The script doesn’t pull any punches with the portrayals of Jimi and all of the others (Clapton, in particular) and, really, that’s all you can ask of a docudrama like JIMI: ALL IS BY MY SIDE. The film is rated R, primarily for language and the limited portrayal of drug use but, aside from that, this is a film that every music lover (well… except for those close-minded few that I discussed at the front of this thing) should see and will enjoy. Even without those classic Hendrix tunes.


ALICE COOPER: RAISE THE DEAD – LIVE FROM WACKEN

(DVD, BLU-RAY, CD; UDR MUSIC;2014)

alice_cooper_bluray_cover

Most everybody who knows me and everybody that’s read my stuff for the past 20 years knows that I am a huge Alice Cooper fan – the band, solo stuff, Billion Dollar Babies… chances are good that if Alice, Dennis, Michael or Neal are involved, I have it. Even through the rough times (as far as I’m concerned, those rough times are called LACE AND WHISKEY, ZIPPER CATCHES SKIN and TRASH… though they are not without their own redeeming qualities). For the last fifteen years or so, Alice the man has mounted a substantial comeback, cranking out some fine albums and touring continually with a show that changes and evolves almost on a nightly basis. Alice always manages to surround himself with musicians of the finest kind and, the band he had playing behind him on August 3, 2013 before a mass of humanity at the Wacken Open Air Festival in Germany was no exception. Now, with RAISE THE DEAD… , we can experience the sights and sounds that have thrilled and shocked audiences for more than 45 years; both the Blu-Ray and DVD releases come packaged with a two CD set which, between video and audio, manages to capture Alice’s entire Wacken show.

Alice Cooper, flanked by Ryan Roxie and Orianthi (publicity photo)

Alice Cooper, flanked by Ryan Roxie and Orianthi (publicity photo)

As it was the music that always drew me in, let’s start by an examination of the CDs first. One of the cool things about an Alice Cooper show is the set list; with 26 studio albums worth of material (seven with the band and 19 solo), the Coop always manages to throw in a surprise or two. Even though he took time to open for Motley Crue’s farewell tour, among others, he’s spent a couple of years on the RAISE THE DEAD tour and, even though the set has remained fairly constant during that time, he’s only recently (in Alice time) brought back “Hello Hooray” as the opening number. The tune hasn’t sounded this good since the original band did it back in 1973, even though Alice’s vocals do get lost in the guitar mayhem a couple of times. “House of Fire” is pop star Alice from the TRASH album. It is one of the stronger tracks from that record, so I can live with it. Without stopping to catch their breath, the band (long-time guitarists Ryan Roxie and Tommy Henriksen, long-standing bassist Chuck Garric, drummer Glen Sobel and hot-shot guitarist Orianthi) rip into “No More Mister Nice Guy.” There’s a little bit of playful risk-taking with that familiar guitar riff that adds a new dimension to the song. One of the original band’s snottiest songs, “Under My Wheels,” sounds even more garagey with the three prong guitar attack. Unfortunately, Sobel is no Neal Smith… but, then, who is? His playing is fine but, he just misses some of those subtle nuances that Neal added. Speaking of Mister Smith, his co-writing credit from Alice’s latest, WELCOME 2 MY NIGHTMARE, is up next. “I’ll Bite Your Face Off” was one of three songs on the record to feature the four surviving Alice Cooper members (with former solo mainstay, guitarist Steve Hunter, ably substituting for Glen Buxton); there’s not as much venom in this live version, but it’s still very much in the classic Cooper vein. “Billion Dollar Babies” is the song that finally has all players hitting on all cylinders at the same time, with Glen Sobel being particularly on-point with the complicated drum patterns.

Alice Cooper (photo credit: PEP BONET)

Alice Cooper (photo credit: PEP BONET)

Caffeine” is an odd little ditty that somehow works better than it should. The vocals are a bit muddy (must be all that coffee!), but it sure sounds like everyone is having fun. “Department of Youth” is one of – if not THE – favorite song from an album of great songs (WELCOME TO MY NIGHTMARE). This version is really good, though I did miss any mention of Donny Osmond or Justin Beiber or One Direction or whatever flavor of the month was hot in August 2013 when, at the end of the tune, Alice asks, “Who’s got the power?” and, then, “And who gave it to you?” A minor complaint, I know, but it’s the simple things in life that get me through. Alice kind of reasserted himself after TRASH with the more rocking sound of HEY STOOPID. The title track, an anti-drug message wrapped up in a snide Cooper lyric, is sorta in the same sarcastic vein as “Caffeine.” This live version sounds even better than the original studio version, which featured both Slash and Joe Satriani on guitar. “Dirty Diamonds” is the latest in a long line of spy and crime oriented songs (“Halo of Flies,” “Crazy Little Child” and “Man With the Golden Gun” immediately spring to mind) from Alice. It’s a solid rocker but, still, it just can’t compare to those earlier tracks. It features a duet with Garric and Sobel showing off their rhythm section muscles to great effect; near the end of the duet, Orianthi, joins in for a nifty little solo over the top. There’s a subtle shift in sound on the track that launched Alice’s solo career, “Welcome To My Nightmare.” Touring without a keyboard player and eschewing a backing track for the majority of the show gives much of the solo material a slightly different, beefier sound. I like it! The song rolls right into “Go To Hell” from Alice’s second solo outing. This version is relatively close to the original, with a killer guitar sound.

Alice Cooper begins his transformation into the Cooperstein creature (photo credit: OLAF MALZAHN)

Alice Cooper begins his transformation into the Cooperstein creature (photo credit: OLAF MALZAHN)

The second disc kicks off with the rarely performed “He’s Back (The Man Behind the Mask),” a track from Alice’s MCA days, which barely gets any love from the Coop (a situation that I really don’t understand, as there were some good tunes on both CONSTRICTOR and RAISE YOUR FIST AND YELL… especially side two of the latter). Anyway, gone are the cheesy ’80s synthesizer dance grooves, replaced by a heavier guitar sound, making it even creepier than the original version. Orianthi drops in a nice extended solo toward the end. “Feed My Frankenstein” may not be my favorite HEY STOOPID track, but it’s good theater. For a few tours, Alice would build a hulking monster out of body parts onstage. That worked really well but, now, he undergoes a “transformation,” turning himself into a Cooperstein; I like the idea… I’m just not too sure about that lumbering twelve foot tall Alice thing… looks kinda goofy to me. But, then, maybe that’s the whole point. The ultimate Alice Cooper song, “Ballad of Dwight Fry,” follows, as Doctor Alice is sent away for his crimes against nature. The traditional piano intro (a playback from the original recording) gives way to a haunting, reverb-drenched guitar from Roxie. Alice sounds even more schizophrenic and demented than usual, as “Nurse Sheryl” (named after Alice’s wife, who held the role until daughter Calico took over) torments the straightjacketed patient until he breaks free and chokes her. Now, that action is gonna get you punished, Alice… looks like you losing your head is gonna cause you to lose your head. The band plays the final, execution section of “Killer” (which doesn’t make it to the audio version of the show) as the guillotine does its thing, bisecting the villain at the neck. While Alice is dead, the band offers a truncated version of “I Love the Dead,” no verses just the chorus and the middle bridge section. It’s always been my favorite Alice tune and, after doing it this way for quite a few years, I’m kinda used to it.

Alice Cooper (Calico Cooper as Nurse Sheryl) (photo credit: PEP BONET)

Alice Cooper (Calico Cooper as Nurse Sheryl) (photo credit: PEP BONET)

As Nurse Sheryl inspects the body, a voice from beyond calls: “Alice Cooper. Alice, you’ve cheated death once again. How fitting that you should end up in the graveyard of the Hollywood Vampires… here with all of your dead, drunk friends.” Cue Alice’s return from the dead and the unmistakeable riff of the Doors’ classic “Break On Through.” Alice has often recounted the legendary binges that he and his drinking buddy, Jim Morrison, would go on; Morrison was a Hollywood Vampire before the club existed and exited before the first “meeting.” There’s some really nice guitar and drum work on the heavier, funkier version that Alice and his band offer up. John Lennon was a member of the debauched drinking club (and the only one who didn’t die of some sort of substance abuse) and Alice’s rendition of “Revolution” is spot on, particularly the backing vocals. Even though Jimi Hendrix wasn’t a Vampire, I’m sure that he and Alice ran into each other quite often in LA, probably at the Whisky on Sunset Strip. Since we’re talking about Hendrix here, this may not make too much sense but, consider the original before reading on. The beauty of “Foxy Lady” lies in its simplicity. Three guitarists, all trying to be Jimi, is just too much; everything else, including the vocals kinda get lost in the six-string melee. The next song brings things back to earth. The Who’s Keith Moon was a Vampire; Alice salutes him with a great, punky take of “My Generation,” a tune that he’s been doing off-and-on for the past fifteen years or so. Of all the covers, it sounds like Alice had the most fun with this one. As the song ends, he surveys the headstones of his friends, these four legends, proclaiming, “My dead, drunk friends.” It’s a great lead-in to…

Alice Cooper (publicity photo)

Alice Cooper (publicity photo)

I’m Eighteen,” the band’s first hit single and the one that will always remind us why Alice, Glen, Dennis, Neal and Michael are considered one of the greatest rock anthem bands of all time. The next tune came very close to breaking my camel’s back as far as Alice Cooper is concerned. Oh, how I hate this song! It’s worse than “I Never Wrote Those Songs” and “(No More) Love At Your Convenience.” Combined. And, the most confounding thing about “Poison” is, he was dead sober when he wrote the thing; at least, when he did LACE AND WHISKEY, he had the excuse of living his life in a drunken stupor. For what it’s worth, the band sounded okay and the Wacken crowd (and everybody but me, apparently) really seem to dig this atrocity. As mentioned in a couple of other spots, the three guitar approach didn’t always mesh too well. “School’s Out” is an exception to that statement; the various styles of Orianthi, Ryan and Tommy (in order of their spotlight solos) work really well within the free-for-all confines of the traditional show closer. As he’s done for quite a few tours (probably as long as he’s done “My Generation”), Alice weaves Pink Floyd’s “Another Brick In the Wall” into the fabric of “School’s Out,” offering a unique, utterly enjoyable mash-up of the two. It’s become somewhat expected of “Classic Rock” acts like Alice Cooper to release a live document of their shows, seemingly one or two a year. These affairs can, unfortunately, be hit or miss. I’ve never been disappointed with live Alice (“Poison” aside). RAISE THE DEAD… is no exception.

Alice Cooper's final bow (Glen Sobel, Ryan Roxie, Chuck Garric, Alice, Orianthi, Tommy Henriksen) (photo credit: PEP BONET)

Alice Cooper’s final bow (Glen Sobel, Ryan Roxie, Chuck Garric, Alice, Orianthi, Tommy Henriksen) (photo credit: PEP BONET)

The accompanying video (available in DVD or Blu-Ray versions) sounds and looks great, though it is not without its problems. While we do have the entire “Killer” snippet leading up to the execution, both the Beatles and Hendrix numbers are cut. From “Break On Through,” the video jumps right to “My Generation.” Calico’s performance as Nurse Sheryl is magnificently over-the-top and the executioner’s post-beheading antics get a grin out of Chuck Garric. As Chuck exhorts the crowd to sing louder, the executioner holds the microphone up to the lips of the decapitated head, shrugs his shoulders and smirks, as if to say, “You ain’t got nothin’ to say now, do ya?” A great moment of sick humor. So, anyway, I mentioned problems. They are all directorial or editorial things that should not have happened since this was obviously a multi-camera shoot… meaning that they were all decisions made in post-production. It seems that the director had a very difficult time in finding, focusing on and following the solo or meaningful musical moment or cool theatrical moment. Examples include, but are definitely not limited to: A shot of Orianthi (granted, she is very photogenic), from behind, no less, when Ryan Roxie is playing a nice solo; a close-up of Garric behind his mic, before the chorus comes around and it’s his turn to actually sing… by the time he opens his mouth, the camera’s already off to the next incongruous shot; when we should have extended shots of Chuck, during his duet with Sobel, we see Glen and we see the crowd and we see long shots of the stage; during the climax of “Go To Hell,” Alice menaces Roxie and Tommy Henriksen with a whip… all we see is Alice flailing the weapon from one side of the stage to the other, either in close-up or from over Glen Sobel’s shoulder. Speaking of which, there are far too many such shots (over Sobel’s shoulder, I mean) and too many crowd reaction shots at integral points in the show (solos and such). These may seem like trifles to some but, to those of us who like to know what’s going on and who is playing which guitar part and what Nurse Sheryl is doing behind Alice, that’s what we wanna see, not a sea of indistinguishable faces in the dark. Having said that, problems aside, RAISE THE DEAD – LIVE AT WACKEN is a nice addition to your Alice Cooper collection.