Five Cool Ones: Five New Records Released This Week (September 30, 2022)

Another week in the books and things seem to be cranking. We were a bit skeptical when we heard that The Boss was putting out a Soul covers record, but holy Motown, by the sounds of this single that has leaked out it is going to be great.

Librarians with Hickeys have a new one out that is a Power Pop pleasure.

And, the Big Star, Badfinger devotees The Bablers tickle the ears with their new single “You Are The One For Me.”

Dead Daisies – Radiance

For those about to rock, we salute you. Here at Rock is the New Roll H.Q. we are big fans of Glen Hughes, next to David Coverdale our favorite Rock singe. And, by extension, we are cards to the middle of the table, all in, on the latest Dead Daisies record, Radiance.

Full of high-tone ‘70s rock swagger in the Deep Purple mold, this super group that consists of former Whitesnake guitarist David Aldrich, Glen Hughes, major-domo and bandleader David Lowy, and drummer for hire Brian Tichy, pull out all of the stops on a record that is full of heavy riffs, soaring vocals, and monster drumming.

Sure, the music is not very subtle and there is not much room for nuance, but if you like Alice Cooper, Deep Purple, Rainbow, or Ronnie James Dio, then this record is right up your horns up street.

2nd Grade – Easy Listening

The Philadelphia five-piece that is 2nd Grade is poised for next-level greatness with their third proper full-length, Easy Listening.

The texture transitions from song to song that the band pulls off makes for not only an interesting listen, but also rewards the listener with new signature Nuggets to be unfurled with each successive spin.

The opener “Cover of Rolling Stone,” no not that one, is a short fuzz-laden, straight ahead rocker, and “Strung Out On You” is a Power Pop gem in the Weezer and Fountains of Wayne mold. And, believe it or not, there is a bit of James Gang essence on “Controlled Burn.”

“Wouldn’t It Be Nice To Let It Be” shows the band’s softer side as well as highlights their songwriting acumen, and “Keith and the Telecaster” has a bit of a Ramones feel to it.

Pound for pound one of the most eclectically cool records of the year, look for this one to show up on several best-of lists later in the year.

The Airport 77s – We Realize You Have A Choice

From the opening Journey by way of Night Ranger riffage on “One Good Thing About Summer” to the Cheap Trick if The Struts Luke Spiller fronted the band splendor of “Birthday Girl” the ears are tuned to coolness with this sophomore release of Airport 77s.

With the lyric, “He has a photo with Sammy Hagar and tattoo that says Aloha,” on “Losers Win,” you get a sense of the whimsical side of the band, and the soaring gang vocals imbedded in “Somebodies” is pure ‘80s rock that would make The Romantics proud.

Putting the power in Power Pop and the radio in Radio Friendly, this banger of a record might force you to change the needle on your turntable you will be playing it so much. And, yes, there is cowbell.

Buddy Guy – The Blues Don’t Lie

Blues man Buddy guy doesn’t stray too far from home here, but when you apply your craft so well, that is never a bad thing.

From the opener, “I Let My Guitar Do The Talking” it is abundantly clear that there is a lot left in the blues tank and Guy has lost nothing on his fastball, either vocally or instrumentally.

The title track is a poignant reflection on Sonny Boy Williamson that told Buddy that the blues never die when he left Chicago for Little Rock to die, and “The World Needs Love” is a slow burner with a message for the times.

The proceedings heat up in the back half of the record with guest turns from the likes of James Taylor, Elvis Costello and Bobby Rush. And the emotionally devastating “Gunsmoke Blues” with Jason Isbell lays bare the issue of gun control. And, for the record, the cover of The Beatles “I’ve Got a Feeling” presented here is epic.

The pristine production, careful curation of the contributors, and strength and tenor of his playing and his vocals combine to make this record one of the best albums the blues legend has put out on the last 10 years.

Alice Cooper – Live From The Astroturf

This 12th proper Alice Cooper live Alice Cooper record this one was recorded live in 2015 at Good Records Dallas, Tx.

Featuring mostly the original Cooper line up, Alice, Dennis Dunaway, Michael Bruce and Neil Smith with Ryan Roxie filling in for the late Glen Buxton, this intimate performance is notable in that stripped of the often over the top stage theatrics Cooper engages the audience with story telling stage banter that adds to the enjoyment level of the concert.

With songs focusing on the glory days of the band, “Be My Lover,” “I’m 18,” and “School’s Out” blast from your speakers as if these men of a certain age were playing them for the first time.

This one is a must-have for fans of Alice Cooper and a definite peek into the glory days of rock and roll. For extra credit there is a documentary of this event that includes Q&A’s with the band members.

Classic Album Review: Alice Cooper – Welcome To My Nightmare

A Cosmo Crane review originally published on the Cool Album of the Day website. For more reviews like this make sure to check them out.

Part Psycho Circus, part Jerry Springer show, part Quentin Tarantino shock-fest, Alice Cooper’s Welcome to my Nightmare album and subsequent tour was, depending on your point of view, either ridiculous or brilliant. The ultimate answer is of course given the benefit of historical perspective, that the album is ridiculously brilliant. Released in 1975, the album was Alice Cooper’s first post band break-up outing and is by far the best solo record of his decades long career.

Giving up the comfort of a consistent touring band and going to ax person by committee was certain to be a calculated risk. It was going to be hard to improve on Billion Dollar Babies, his previous album that included the hit songs “Elected,” and “No More Mr. Nice Guy,” and was the bands biggest seller to date, and the future of the entire enterprise without guitar muse and songwriting partner Glen Buxton was anything but certain. The new direction was going to turn the theatrical knobs up to 11, and incorporated many of the shock and awe elements from prior albums along with songs that were a bit more visceral in nature dealing with psychological horrors of the mind right alongside the physical ones.

The album was a top 10 seller, largely on the strength of the songs “Department of Youth,” “Welcome to My Nightmare,” and the somewhat controversial for the time “Only Women Bleed,” a song that reached the top ten, and was protested by various women’s groups due to the subject matter that dealt with spousal abuse. The song was also somewhat of a departure for Cooper in that no song he had previously recorded was as political or thought provoking. The fact that it was also a ballad, also served to put the Alice Cooper coven of fans on notice that a change was coming, and they were not necessarily going to like what the future had in store.

A concept album centered around the nightmares of the main character Steven, Welcome to My Nightmare, much like a Broadway play, was expressly written for the stage, and a tour was launched shortly after the release date where the record was performed mostly in its entirety. With production duties handled by long-time collaborator and Cooper Muse Bob Ezrin, the record has the feel of a real concept album in the Tommy mold, and is best digested in one sitting. The mix of rockers like the standout “Department of Youth,” and the guitar heavy anthem “Devils Food,” are intrinsically interspersed with the somewhat creepy “Steven,” a song that seems to share some DNA with the theme from exorcist, with the far off calling of Steven’s mother downright chilling, and the equally scary “The Awakening,” all kicked off in fine macabre fashion with “Welcome to my Nightmare,” a song that goes from a whisper to a scream to set the stage for what we are about to experience. Welcome to my nightmare I think you’re gonna like it. I think you’re gonna feel you belong.

To say that Welcome to My Nightmare marked the end of Alice Cooper’s commercial appeal may be stretching things a bit. After all, his live shows are still immensely popular; he has his own radio show, and has recently been elected to The Rock and Roll Hall of Fame. But in reality, the album did mark the creative zenith of his career with subsequent albums Lace and Whiskey, Zipper Catches Skin, Dada, and Hey Stoopid, never even coming close to the artistic marvel that was Welcome to My Nightmare.

Much like anchovies on a pizza, an Alice Cooper show is something everyone should experience at least once. On recent tours, he has assembled a top notch band that includes Orianthi, the Aussie guitar goddess that was scheduled to play “Beat It” on the ill-fated Michael Jackson comeback tour that never was, and he has not lost a bit of his energy, strutting around the stage and striking poses that would make Mick Jagger jealous.

As a rock icon, Alice Cooper is one of the best. Welcome to My Nightmare is not Blood on the Tracks, and it certainly is no Tommy or Quadrophenia. It is what it is, a glorious shock jock guilty pleasure sort of a listen, one that should be consumed with gusto every Halloween.

So turn out the lights, lock the door, place the candy on the porch on a self-serve chair, and put the record on the stereo, at maximum volume of course. The candy may not last past the second set of kids, but your retro time warp back to 1975 will make you a better person, sooth your soul, and your ears will thank you.

Track Listing

  1. “Welcome to My Nightmare” (Alice Cooper, Dick Wagner) – 5:19
  2. “Devil’s Food” (Cooper, Bob Ezrin, Kelley Jay) – 3:38
  3. “The Black Widow” (Cooper, Wagner, Ezrin) – 3:37
  4. “Some Folks” (Cooper, Ezrin, Alan Gordon) – 4:19
  5. “Only Women Bleed” (Cooper, Wagner) – 5:49
  6. “Department of Youth” (Cooper, Wagner, Ezrin) – 3:18
  7. “Cold Ethyl” (Cooper, Ezrin) – 2:51
  8. “Years Ago” (Cooper, Wagner) – 2:51
  9. “Steven” (Cooper, Ezrin) – 5:52
  10. “The Awakening” (Cooper, Wagner, Ezrin) – 2:25
  11. “Escape” (Cooper, Mark Anthony, Kim Fowley) – 3:20

Personnel

  • Alice Cooper – Vocals
  • Bob Ezrin – Synthesizer, Keyboards, Vocals, Fender Rhodes
  • Vincent Price – Special Effects, Vocals
  • Dick Wagner – Electric and Acoustic Guitar, Vocals
  • Steve Hunter – Electric and Acoustic Guitar
  • Josef Chirowski – Synthesizer, Keyboards, Vocals, Clavinet, Fender Rhodes
  • Prakash John – Bass
  • Tony Levin – Bass
  • Pentti “Whitey” Glan – Drums
  • Johnny “Bee” Badanjek – Drums