SickthingsUK

He made a very similar album to the one you are requesting just four years ago, it was called Dirty Diamonds. [/quote]

I agree with you totally, Dirty Diamonds and The Eyes Of.... are the best albums he,s done recently. Neither were concepts and both would stand alone without theatrics. Personally i think some of Alice's best songs are meaningful ballards. As for stadiums lets start with a big Arena tour and see how it goes. If it's successful
he may be asked to headline aq festival again. Isle of Wight, or Donnington who knows?

>This prompts the question does any guitar solo form a major part of a song?

It can do, as you acknowledged in a previous post.

>I think Glen Buxton came up with something really special with that solo,

I agree. Is it enough to be considered part of the writing process though?

>As for stadiums lets start with a big Arena tour and see how it goes.

Do you have any idea how a tour is put together? I don't think you do. There are many interesting posts on this subject and others which I recommend you find and read.

Some questions that hopefully time will answer:

1) What kind of quality material could Damon and Keri write with Coop?

2) Would they all be willing to put in the time early next year to work up something special?

3) Does Coop even want to write with his touring band, or does he prefer other options?

4) Does he prefer a studio album with technical tricks that cannot be easily played live, or does go for more of a live sound as a recent interview in SF implied.

5) If the next album is just a compilation of great rock songs, will any of them get played live if next year's tour is a continuation of the TOD?

steven_crayn wrote: I couldn't imagine 'Vengeance Is Mine' without Slash soloing

Well, give it a few weeks 'til you see the show live, then you won't have to imagine! It's still good. Of course, it's not the same, but it's still a great live song, I think.

If the new single is any indication of Alice's ability....the new album will be fantastic.

I am unable to give bad reviews of Alice's music...not because I am biased, but because it really is amazing.

Here is the challenge: Compare ACAS to any Top 10 rock band released in the same year. I think you will find that Alice is a better songwriter, arranger, and conceptual artist than anyone.

For example: I just bought Kiss' Sonic Boom. Because I am a fan of both....I compared Alice's new album to Kiss' new album. Although not released in the same year, they both showcase an ability to write strong rock and roll music.

Now, I am trying to compare these albums (ACAS and Sonic Boom) to the new Wolfmother, Cosmic Egg.

What will the comparison reveal? Stay Tuned...or try it yourself and form an opinion.

Crap, I just realized the new W.A.S.P. album is coming out tomorrow....maybe I should throw THAT in the mix, too.

If the new single is any indication of Alice's ability....

Let's hope not.

I think you will find that Alice is a better songwriter, arranger, and conceptual artist than anyone.

Now compare the new album to some of Alice's somewhat previous works like "Brutal Planet," etc.

We're either in big trouble or he needs better songwriters to collaborate with.

In the past he's shown an ability to know that having a good concept is not enough, and that it falls down to the lyrics to drive it forward - which (for me at least) is why ACAS wasn't great, but Welcome to my Nightmare is.

He seems to have slipped up in many places within ACAS with his 'don't tell them, show them', or suggestion over telling.

However, he's constantly jumping and making risks - this past one didn't hold up (imo), but, being the risk taker, is doubtfully the sign of things to come.

So really ... couldn't wish for anything other than what he did with ACAS in regards to making another jump, and another risk, even if it ends up with another album that's disliked.

I think we are saying the same thing: We love Alice Cooper, and he has great music.

Of course, some love certain albums more than others but overall, Alice's music is generally great.

Going backwards, I would say the following songs showcase Alice's strongest abilities:

Keepin' Halloween Alive
Wake The Dead
Catch Me If You Can
Killed By Love
Shadow of Yourself
Mankind
The Saga of Jesse Jane
Six Hours
Steal That Car
Sunset Babies
Be With You Awile
This House Is Haunted

Certainly, these songs are much better than any other 60 year old rocker on the scene today, and argueably better than the music made by 20somethings.

Sadly, when Alice finally retires....there will be nothing to replace him or his music.

A_MichaelUK wrote:>This prompts the question does any guitar solo form a major part of a song?

It can do, as you acknowledged in a previous post.

>I think Glen Buxton came up with something really special with that solo,

I agree. Is it enough to be considered part of the writing process though?

This is an interesting point.

The recent court case where a share of future songwriting royalties were awarded to the guy who played the keyboard solo on Procul Harum's 'A Whiter Shade Of Pale', having said that, that is such an integral part of the song it is surprising it took a court case to credit the musician as a co writer.

Other soloists however that ended up doing sessions on famous tracks for peanuts yet their solo was such an important part of the song include the sax solos on 'Baker Street' and 'Careless Whisper' as cases in point that haven't resulted in a court case (yet).

There was another court case where the session musician on the violin solo on 'Young At Heart' won a share of songwriting royalties, which brings to mind the old adage "where there's a hit there's a writ!"

For years it has been generally accepted that a song writing credit is based on a lyric/melody/harmonic structure (or chord progression) with soloists and drummers parts in the final song version that ends up being recorded often losing out financially.

It could be said Neal Smith deserved a song writing credit on 'Billion Dollar Babies' for creating the greatest drum pattern in rock history that was an integral part of the song.

I guess it boils down to the different interpretations of performance and writer royalties which can get blurred and cross over.

NotSoPerfect wrote:

steven_crayn wrote: I couldn't imagine 'Vengeance Is Mine' without Slash soloing

Well, give it a few weeks 'til you see the show live, then you won't have to imagine! It's still good. Of course, it's not the same, but it's still a great live song, I think.

Live performace allows for more artisic licence, I was referring to studio recordings.

The best example I could give would be 2 versions of the same song where the only major difference was the lead guitar part:

On their single version of 'Roll Away The Stone' Mott The Hoople's Mick Ralphs played the perfect lead guitar part, but by the time the album 'The Hoople' came out Ralphs had left and though they kept the backing track a new lead guitar part was added by Luther Grovesnor (named Ariel Bender at that time for contractual reasons) and it just didn't work.

steven_crayn wrote:

NotSoPerfect wrote:

steven_crayn wrote: I couldn't imagine 'Vengeance Is Mine' without Slash soloing

Well, give it a few weeks 'til you see the show live, then you won't have to imagine! It's still good. Of course, it's not the same, but it's still a great live song, I think.

Live performace allows for more artisic licence, I was referring to studio recordings.

The best example I could give would be 2 versions of the same song where the only major difference was the lead guitar part:

On their single version of 'Roll Away The Stone' Mott The Hoople's Mick Ralphs played the perfect lead guitar part, but by the time the album 'The Hoople' came out Ralphs had left and though they kept the backing track a new lead guitar part was added by Luther Grovesnor (named Ariel Bender at that time for contractual reasons) and it just didn't work.

I believe Ralphs wrote the guitar solo for ATYD which is a huge signature. Did he deserve credit? I don't think so as Bowie wrote it Ralphs just added to it. Same goes for Herbie Flowers on Walk On The Wild Side. Huge inpact on the song but without Lou it wouldn't exist.

Pitkin, you meant to say Ralphs played the guitar riff on All The Young Dudes right? If Bowie wrote the riff and Ralphs added to it as you say it would be a question of by how much and is that a co writing credit.

I talked to Ian Hunter who told me that Bowie did write great guitar lines.

Bowie offered Mott The Hoople 2 other songs 'Suffragette City' and 'Drive In Saturday', Bowie is a musical genius who can write and play on more than one instrument with an exceptional voice and lyrical mastery.

He also played guitar on some of his riffs, such as Rebel Rebel.

So All The Young Dudes is probably not the best example to cite.

As for Walk On The Wild Side, yes it wouldn't have existed without Lou Reed but without that Bass guitar the song wouldn't be as great.

Love 'Suffregette City'. My fave Bowie track.

Dave Conway wrote:Love 'Suffregette City'. My fave Bowie track.

I wonder if Bowie had heard Under My Wheels during the writing and recording of Suffragette City? As the vocal melody and chord change on the refrain are identical!
Something Alice has referred to when singing Suffragette City during live versions of Under My Wheels.

Really, never realised that. Must listen back to back.

I hoped for a concept album last time and it was a very good concept/story and also great cover design.
The problem was the songs that was very dissapointing. So this time i still hope for a concept album but with real good songs.
Like for instance songs like "Keepin halloween Alive " This song is ten times better that any of those on ACAS

All I am saying is that most musicians would give their first born to be as talented as Alice Cooper is.

I believe that Alice always has an "Ace Card" behind his back, so to speak. If you look at the B-sides and rare songs that come out....they usually are amazing. Strange enough, they are never featured on an album....until Alice releases it.

For example,
Mankind, See Me In The Mirror, Hard Rock Summer, Is Anyone Home? Keepin Halloween Alive, Hands of Death, Herod's Song, The Toy Master, Be Chrool To Your Skool, etc.

These are all great songs. Why? Because Alice Cooper always makes good music. It is impossible to bash the man, when he is the example to follow.

In Conclusion, Alice Cooper's new album will be an amazing collection of great music.

GailsFriend wrote:All I am saying is that most musicians would give their first born to be as talented as Alice Cooper is.

I believe that Alice always has an "Ace Card" behind his back, so to speak. If you look at the B-sides and rare songs that come out....they usually are amazing. Strange enough, they are never featured on an album....until Alice releases it.

For example,
Mankind, See Me In The Mirror, Hard Rock Summer, Is Anyone Home? Keepin Halloween Alive, Hands of Death, Herod's Song, The Toy Master, Be Chrool To Your Skool, etc.

These are all great songs. Why? Because Alice Cooper always makes good music. It is impossible to bash the man, when he is the example to follow.

In Conclusion, Alice Cooper's new album will be an amazing collection of great music.

It would be really stretching it to claim any of these are great songs.

GailsFriend wrote:Be Chrool To Your Skool

Alice never released Be Chrool To Your Scuel as it's not his tune - Twisted Sister released it on the Come Out And Play album.

The new album will mean different things to different people. Whether it's fantastic or a curl of dog dung... it's all a matter of opinion. It'll be great to some, awful to others. Expectations play heavily into the outcome.