ALBUM REVIEW: Alice Cooper - Killer

    Alice Cooper's breakthrough came earlier in 1971 with the release of the "I'm Eighteen" single, a smashing hard rock number that shot up to the top 25. Following that success, Love It to Death was released to an unsuspecting public, showcasing the group's new theatrical take on hard rock, melded with elements of the emerging glam rock movement. The result was a tight set of eccentric rock songs that was finally able to put Cooper on the map. Following that success, Alice Cooper got back in studio to record what is essentially more Love It to Death - you may think this leaves Killer sounding repetitive or like a rehash. In actuality, this is Cooper refining what worked so well with Love It to Death into an even more punchy, hooky, invigorating rock album. Killer doesn't stumble, trip, or fuck about, and it's a improvement over Love It to Death in just about every way.

    The group's ability to compose a tight and punching rocker has not subsided - turn up your stereo and let the opening track "Under My Wheels" blast out. An even more punching opening number than what was on Love It to Death, complete with driving guitar riff from Glen Buxton and a filling touch of horns that sounds like the production work on Sticky Fingers if it were far less cheesy sounding. It's a driving opening number, and every member's energy comes together for an excellent number. There's also the long and winding "Halo of Flies," which goes through many varied movements - from a thumping hard rock number to the soft hum of Cooper's theatric insanity back into a breakneck beat, rising and falling as the song nears its conclusion. "Yeah, Yeah, Yeah" is another thrilling rock classic in my book, just as good as "Under My Wheels" with its crunching guitar riffs and a chugging bass from Dennis Dunaway - I also love Cooper's harmonica playing on this, as out of nowhere as it is. Not all moments are so upbeat or driving, though - "Desperado" was written by Alice Cooper as a tribute to his friend Jim Morrison of The Doors, who had died earlier that year. It's a mysterious and uncertain song, and one that I think does a fine job at capturing the energy of Jim Morrison.

    Even the theatrical side of Alice Cooper expands on this record, most notably with the album's two closing moments. The five minute "Dead Babies" is a rising, falling, somewhat disturbing song that, nonetheless, perfectly captures the essence of Cooper's theatrical energy - it's probably one of the album's greatest performances - love that descending riff. Album closer "Killer" is another story-driven tune, and it's even more noisy and crashing than the song that precedes it, smacking you with walls of guitar and Neal Smith's ever-steady drumming. The result is an assuredly action-packed and soaring final note for the album. The pure rock stuff always shined brighter for me though, and Side B opener "You Drive Me Nervous" is a pretty clean-cut explanation as to why - it smashes, crashes, and screams in your face with pure energy. One of my favorite moments on the entire album. A truly great rocker.

    Killer is the ideal expansion on what Cooper and Co. were doing with Love It to Death, now even more fine-tuned and punching. From start to finish, Killer is an unrelenting album, perpetually propelling the listener forward with flashy rock numbers, gritty riffs, and unconventional showmanship. The band is tight, Cooper is ever the ideal frontman, and the songs have the hooky factor to prove their depth and worth. An excellent followup to their breakout, and almost certainly an improvement on all fronts.

RATING: ✯✯✯✯✯✯✯✯✯✯

Listen to Killer.