Pioneers are left out of conversations
surrounding genres they helped shape and the ones that came along slightly
later are given all the plaudits. Something the press release of this book sets
out in blunt fashion:
The Alice Cooper group are one of the most influential rock bands of all time. And yet, when the histories of popular music are written, they are often in the margins or even overlooked completely. This book redresses that and puts the spotlight on their pivotal period of development from the winter of 1970 to the summer of 1972, bookended by the hit singles I’m Eighteen and School’s Out.
Arguably, this is because their frontman’s
solo career has not only superseded the original group’s success but has
transcended musical infamy to become a well-loved and recognised icon. But
there’s another factor as well, I would argue.
From the early 80’s onwards, Alice’s
material has been directed towards a mainstream metal audience. Compare his
worldwide 80’s smash Poison
with 71’s Under My Wheels
and they’re night and day (despite being rock based music). Such a contrast
would probably have confused the 80’s metalheads, and the 70’s rockers would
have been appalled at Alice’s musical journey.
However thanks to the passage of time, his fans can now appreciate both the Alice Cooper band and the solo Alice. And Ian Hoey now puts forward the case that the band were much more important than they have been given credit for in recent years.
Hoey writes that:I really wanted the added context of where they were at the time and the public and press attitudes to them as their success grew. I also aimed to write a book that would be equally entertaining and informing for people who knew next to nothing about the band and people who knew a huge amount already…Not just with the obvious candidates, but also people who worked for them, with them, or just happened to be around at the times some of the things were going on.
Of course, this is hugely important as the band played gigs with the MC5 and the Stooges (both now rightly regarded as proto-punk legends) and the attitude of Detroit spilled over. But they had also recorded for Frank Zappa and had been Gene Vincent’s backing band for a gig. Alice Cooper were an eclectic bunch who couldn’t be pigeonholed.
Although very much a book for fans, Hoey does an immense job of detailing the little things that helped the band stand out from their peers (such as the moody lighting, costumes and props like a straitjacket) and is more than happy to credit people who may not have been given widespread recognition for this (such as roadies and girlfriends). His research and interviews with former band members and producer Bob Ezrin really does highlight how it takes a myriad of people to create a legend.
One bit that did give me a good chuckle was a line from an underground paper bemoaning the band for not playing a benefit for the GLF (Gay Liberation Front) but still being fans anyway as even capitalists can write great music!
When discussing their place in the glam rock canon, Hoey does admit that Alice had forefathers with the likes of Screaming Lord Sutch (in terms of the visuals) and Screamin’ Jay Hawkins (who sounds like he’s losing his mind on ‘I Put a Spell on You’) but concludes, correctly, that the Alice Cooper band took what had already been established and pushed it even further: had anyone else ended a rock n roll show with being beheaded?
One for fans, but one that will make you realise how just how special those albums are in the grand scheme of glam rock.
Ian Hoey, 2025, I'm Eighteen and School's Out: How the Journey Between Two Rock Anthems Took the Alice Cooper Group from Obscurity to International Infamy. Public Animal Books, ISBN-13: 978-1919193304
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