Calgary rockers LOVER debuted late last year with this 2 song EP, which is now being issued on cassette! 2 great guitar riff, 80s type rockers, with shades of Wasp, Thin Lizzy, Judas Priest, Riot….and a bit of Triumph and Iron Maiden…. Below is a bit from the press info.
Description (from band) – “High energy, vocal harmonies, guitar harmonies, pounding drums. We deliver a full Rock n’ Roll experience. We only had a few songs ready at the time of this recording, so we all decided on our best 2 songs. We have been diligently writing and have more than enough material for a full-length record. We are starting to write a 2nd record already. Most songs are demoed. We are hoping to get some help with the costs of recording our first full-length record.”
EP artwork: The lips are original, our bass player Jacob kept getting kisses from a cutie, so he got her to kiss a Napkin. Aidan then worked some magic on it and the artwork was born. Our friend Alix did a stellar job with designing our logo.
Lyrics – 1. Fatal Attraction: It is an energetic rush of sound that captures the ups and downs of being overwhelmed by desire. The lyrics feed this feeling by talking about lust and substance abuse. 2. Bad Love: Lyrically, a tough and mean reality check. A true story of love gone wrong. Aggressive riffs mean solos; the song captures the strain of a mind in love and turmoil.
Band: Aidan Desmarais – lead vocals, guitar Hunter Raymond – drums, vocals Jacob Chase – bass guitar – Christopher LoNigro – guitar
Honeymoon Suite have a new album coming out this summer. Check out the press info, ordering info, and videos below….
Legendary Canadian Rockers HONEYMOON SUITE Announce New Studio Album ‘Wake Me Up When the Sun Goes Down’ – Out July 25th via Frontiers Music Srl Pre-Order HERE
Famed Rockers HONEYMOON SUITE are proud to announce that their highly anticipated ninth studio album is dropping this summer! Entitled ‘Wake Me Up When the Sun Goes Down,’ this new full-length will be released via Frontiers Music Srl and hits on July 25, 2025. As a follow-up to their electrifying 2024 release ‘Alive,’ ‘Wake Me Up…‘ marks another exciting chapter in the band’s storied career. Known for their infectious blend of melodic rock, powerful hooks, and captivating lyrics, this legendary Canadian band continues to honor its classic 80s-inspired sound while embracing contemporary production techniques. The new album showcases the group’s signature style — a fusion of hard-hitting rock energy and smooth, melodic anthems — but with an updated sonic twist, adding a modern touch that fans have come to expect after their previous successes. Celebrating the announcement, HONEYMOON SUITE shares the album’s first single, “I Fly,” along with a new music video. About the single, Derry Grehan comments: “I had originally come in with the music that ended up becoming ‘I Fly.’ We had a great chorus, and we knew the track could be super cool if we finished it right. There were several re-writes over the course of a few months, but we finally hit on a really great verse and pre-chorus that rolled perfectly into the ‘I Fly’ chorus. I felt bad for Johnnie as Mike pushed him to his limits when cutting the vocal, but sometimes that’s what it takes, and the results speak for themselves. Johnnie is singing better than ever! “The lyrics are metaphorical. They talk about being on a plane, taking off into a new life, and leaving a bad situation behind on the ground. Finding a new freedom and the strength it takes to change. It’s a very positive song, and I think a lot of people can relate.”
‘Wake Me Up When the Sun Goes Down‘ sees the band continuing their commitment to the rock genre, staying true to the powerful, melodic music that made them a household name in the 1980s. Fans can expect driving rhythms, soaring guitar solos courtesy of Derry Grehan, and the signature emotive vocals of lead singer Johnnie Dee. HONEYMOON SUITE’s earlier work, including iconic hits like “New Girl Now,” “Feel It Again,” and “Lethal Weapon,” established them as one of Canada’s most beloved rock bands, and their ability to evolve while keeping their classic sound intact continues to resonate with both old and new listeners alike. Once again, the band has joined forces with acclaimed producer and songwriter Michael Krompass (Steven Tyler, Theory of a Dead Man, Smash Mouth), who helped shape the sound of their 2024 album ‘Alive.’ Krompass’s ability to blend the past and present is evident here, as the album resonates with the same nostalgic vibe that has defined HONEYMOON SUITE’s enduring legacy, while incorporating the latest production trends that elevate their sound to new heights. Derry comments on ‘Wake Me Up When the Sun Goes Down‘: “The new album actually came together pretty quickly compared to ‘Alive.’ We didn’t have a pandemic to deal with. Also, our producer, Mike Krompass, had moved back to Canada, and this put us all much closer together. We recorded most everything at Mike’s home studio outside of Toronto. A lot of the songs were written quickly by Johnnie, Mike, and me in the studio, and I think they have a very fresh, live sound with a sense of urgency and excitement. I had also brought in a few much older ideas that we re-worked and made into great new songs. The album is classic HONEYMOON SUITE. Every song is different and great in its own way. It’s an album that will grow on you the more you listen, and we think people are going to love it.” From their self-titled debut album in 1985 to the success of ‘Racing After Midnight’ and ‘Monsters Under the Bed,’ HONEYMOON SUITE has maintained a loyal fan base, producing a series of chart-topping records that continue to define the rock genre. Their latest effort proves that, nearly four decades later, the band is still firing on all cylinders. With this new album, HONEYMOON SUITE demonstrates their ability to stay relevant and energized in today’s music scene while still tapping into the timeless essence that made them a staple of the 80s rock era. The album delivers a collection of tracks brimming with both high-octane rockers and more introspective moments, all marked by the band’s trademark energy and musicianship. From its anthemic choruses to its emotive lyrics, ‘Wake Me Up When the Sun Goes Down‘ reaffirms that HONEYMOON SUITE remains one of rock’s most enduring and exciting acts, ever evolving but never straying from the heart of what made them legends.
Track List: 1. I Fly 2. Way of the World 3. Every Minute 4. Way Too Fast 5. Stay This Time 6. Crazy Life 7. Live On 8. Keep Our Love Alive 9. Unpredictable 10. Ever Leave You Lonely
pic – : Allan Zilkowski
HONEYMOON SUITE are: Johnnie Dee – lead vocals Derry Greham – guitars / keyboards / backing vocals Dave Betts – drums Gary Lalonde – bass Peter Nunn – keyboards
Released in the summer of 1983, Line Of Fire was the Headpins 2nd album on Solid Gold Records. Founded a few years prior with (then) Chilliwack members Ab Bryant (bass) and Brian MacLeod. The band went through a few changes, with drummers Matt Frenette (Loverboy) and Bernie Aubin essentially changing places, and singer Denise McCann being replaced by Darby Mills. The band’s debut Turn It Loud, gained a lot of attention and radio play with the hit single “Don’t It Make Ya Feel”, as well as the title track – “Turn It Loud” and “Breakin’ Down”. The Headpins sound centered around MacLeod’s guitar sound and Darby Mills powerful vocals (dubbed the “Queen of scream”). Line Of Fire took on a bit more of a radio friendly approach in the songs and a bit of keyboards on a few tracks. The album’s cover is a photo of the band on and around a motorcycle, with the back cover being another band photo, but geez, the small red lettering on the back, makes a good bit of this hard to read!
Anyway, I saw the Headpins open for Loverboy in August of that year. During their set Darby Mills announced that the new album would be in the shops the next day before the band played “Feel It (Feel My Body)”, which was the only new song included in their set!
Line Of Fire was a very good album, all around. It featured 2 classic dark, hard n heavy side openers in “Mine All Mine” and “Don’t Stand In The Line Of Fire”. Then there was the 3 singles, all melodic rockers – “Celebration”, “Just One More Time” (the band’s only single to crack Billboard in the US, @ #70). The more poppy “Feel It (Feel My Body”) featured a bit more keys and horns, and received a good bit of radio play. “Double Trouble” was another fine rocker. 8 tracks, all written by MacLeod (with Mills co-writing 2, and Ab Bryant another). Line Of Fire gave the band their 2nd platinum album in Canada.
The band’s label Solid Gold went under before the band’s 3rd (and final) album 2 years later. Head Over Heels was recorded for MCA records, a bit lighter, featuring the single “Stayin’ All Night”, as well as favorites “Never Come Down From The Danger Zone” and “Still The One”, but it didn’t fare as well as the previous 2 records. Still well worth checking out. Darby Mills left the band soon after, and released a solo album in 1991 (Never Look Back), while McLeod wrote & recorded with Mike Reno (Loverboy), and recorded an album with Chrissy Steele (Magnet To Steel) in ’91. MacLeod passed away in 1992. The Headpins would eventually reform with a few new players, and still play today (albeit with a different singer as well).
Andrew Barnum has worked on a number of different album covers over his career, and more recently having been checking out KANSAS’ 80s records, I wanted to find out more about 1982’s Vinyl Confessions. It was an album that saw a few changes for the band – singer, sound, and cover art! A very different cover than the band’s previous ones. Andrew gives us some great insight to the Vinyl Confessions artwork and period of the band, as well as a bit about other aspects of his career and covers he’s done. *Check out the links at the end, and the galleries of Andrew’s work.
How did working on the Kansas cover come about? Had you done many album covers prior to this? How did you get involved? And were you familiar with the band?
As an American born Australian, I returned to the USA from Sydney in 1977 as a freelance graphic designer, and aspiring singer-songwriter. Designing by day, performing music by night. After freelancing for 3 years, I landed a real job at a company called Print, Film and Tape in Burbank (Movies, Music, Arts) that lasted a year, which led to joining Tom Drennon. I can’t remember how it happened; Tom was all music business design work, from covers, to promo campaigns, and tour identity collateral. Here’s Tom’s covers: https://bit.ly/4mp2Gpw . I’d only done a few of album covers as a freelancer both by saxophonist John Klemmer (Brazilia, Straight to the heart) and jazz singer Jon Lucien. By 1980 I’d met my soulmate, art director, and music partner Lissa Mendelsohn and formed our post-punk band ‘Live Nude Girl.’ Our freelance designing was with Macy Lipman Music Marketing, and Larry Vallon Concert Promotions. I was familiar with Kansas by reputation only, and that Tom had done numerous covers for the band, and other Epic Records artists.
Can you explain the whole idea behind the cover, your contributions, how it was all put together?
This album was a monumental change for the band because a change of lead singer. Tom recounted after the concept meeting at the studio, that the band felt under intense scrutiny because of the line-up change, under a microscope so to speak. Tom’s key image idea was the interrogation chair. That began the process of designing a package that was looking at the band in minute detail during this re-invention. Hence the stripped back blue-print imagery. The design was also influenced by the 80s post-modern design shift that had begun in LA. The new cover was breaking with the past Kansas tradition of earthy, painted imagery. This was achieved by both the chair photo, and the striking B&W band photo, and primary colours in the logotype, and band names on the photo. Pre-digital, all the assets were hand drawn, typeset, and composed on full size paste-up boards.
Can you explain your technique used for this cover?
Drawn, or re-touched B&W bromide film elements (typesetting, image) pasted in position for CMYK print film colour separations. Very standard pre-digital print production. An assembly of visual assets.
Did you also happen to do the lettering on the front cover? Any idea why the band’s logo (on all previous album covers) was not used?
The logo brief was to create something new for Kansas, while creating continuity with their classic forms on previous covers. This led to researching typefaces in the trusty (copyright free) reference of the time, Dover books. We found ‘the sixteenth-century German artist Albrecht Durer’s instructional treatise on the geometric construction of Roman capitals, with precise directions for each letter and general directions for Gothic capitals and miniscules, Of the Just Shaping of Lettersby Albrecht Dürer.’ (Google books) The roman titling we found which contained both capital and lowercase outlines served the purpose of detail, scrutiny, and classicism. We added the bright colour set within the letter forms.
Was Kansas a band you listened to? Any recall listening to this album?
Not really on our post-punk radar at the time. But fully aware of their impressive stature and sales.
Did you do any other album covers beyond Vinyl Confessions? And what do you do now?
(Well, since then, in the art world) After Lissa and I were married in LA in 1981, all roads started leading back to Sydney after a honeymoon trip, we reconnected with design and music in Sydney which led to a new freelance life as A&L Barnum Design, and our ‘Live Nude Girl’ demos being heard by local producer Mark Moffat at Festival Records. By easter 1982 we’d sold up our chattels, and moved to Sydney. Again, design by day, and music by night, sometimes vice-versa.And a new band name for our new duo ‘Vitabeats.’We’ve designed covers for Inxs, Eurogliders, Redgum, Anne Kirkpatrick, Mary Jo Starr, Mark Callaghan (Gangajang) and Java Quartet. And Vitabeats and my 8 solo albums (see atbarnum.bandcamp). We are both exhibiting artists. Mexico City born Lissa’s Aus-Mex paintings, and my more conceptual minimalist works. barnumgroup.biz/art
Have you ever seen the Uriah Heep album cover for ‘Equator’ (1985)? (check it out)
I note the similarity to ‘Confessions.’ Also a progressive hard rock band re-defining itself with graphic impact for the mid 80s. The image looks a slice through the earth at the equator. Global warning anyone?
Another STEVE HACKETT live album. I haven’t picked up the last one yet, but love all these releases revisiting his GENESIS years. But, is there any Genesis albums left for him to do? Check out the press release, video, and track-listing below.
Steve Hackett proudly presents ‘The Lamb Stands Up Live At The Royal Albert Hall’, a stunning audio/visual document of his show at the iconic London venue in October 2024, set for release on the 11th July 2025. Watch the band performing ‘The Lamb Lies Down On Broadway’ below:
Steve and his live band celebrate the 50th anniversary of the legendary Genesis concept album ‘The Lamb Lies Down On Broadway’, with a selection of his favourite tracks from that album including ‘Fly On A Windshield’ & ‘Lilywhite Lilith’. The live set also includes other Genesis & solo classics, including music from his most recent acclaimed album ‘The Circus And The Nightwhale’. This special evening saw the band joined by guests including Ray Wilson, Steve Rothery, Amanda Lehmann & John Hackett. Steve comments: “I was so happy to revisit the Lamb on tour. The Royal Albert Hall evening was particularly memorable. It is my favourite London venue and the atmosphere there that night was absolutely electric… I was really pleased that everyone in the band and the performing guests pulled it off with flying colours!”
Expertly mixed by Grammy-award winning engineer Chris Lord-Alge, and mastered by Ted Jensen at Sterling Sound, the night was filmed by longtime collaborator Paul M Green, and is presented as Special Edition 2CD+Blu-ray Digipak which includes 5.1 Surround Sound & bonus interview content. The vinyl arrives as a deluxe 4LP 180g boxset, including 12-page LP-size booklet featuring photos from the evening. Pre-order now HERE.
Track-listing:
1. People of the Smoke 2. Circo Inferno 3. These Passing Clouds 4. The Devil’s Cathedral 5. Every Day 6. Hands Of the Priestess 7. A Tower Struck Down 8. Low Notes And High Hopes 9. Camino Royale 10. Shadow Of The Hierophant 11 .The Lamb Lies Down On Broadway 12. Fly On A Windshield 13. Broadway Melody Of 1974 14. Hairless Heart 15. Carpet Crawlers 16. The Chamber Of 32 Doors 17. Lilywhite Lilith18.The Lamia 19. It 20. Dancing With The Moonlit Knight 21. The Cinema Show 22. Aisle Of Plenty 23. Firth Of Fifth 24. Los Endos 25. An Interview with Steve Hackett
Steve Hackett & band are currently continuing their Genesis Greats, Lamb Highlight & Solo tour around Europe, before taking it to Japan in July, Italy in September & North America in October & November.
Earlier this year, Steve Hackett released ‘Live Magic At Trading Boundaries’, featuring live recordings from his annual acoustic shows at Trading Boundaries in the UK. Listen nowHERE.
Well, this isn’t exactly ‘new’ news, but I wanted to post it anyway! Very much looking forward to this. There’s a few interviews on Youtube with Dennis Dunaway, well worth checking out. Only AC can come back 50+ years later, and the first single they release is about a snake! Love the cover art, made up as an old movie poster.
Also, recently released by Rhino (Warner Bros in Canada) is a hi-fidelity issue of Love It To Death. This comes in a glossy gatefold, thick cover, and includes an insert with an interview with Bob Ezrin in it.
For the first time in over 50 years, the original Alice Cooper group has reunited to release a brand-new studio album, “The Revenge of Alice Cooper,” set to release on July 25th via earMUSIC.
This highly anticipated album is heralded as the successor to their iconic records “Schools Out,” “Billion Dollar Babies,” “Love It to Death,” and “Killer.”
The first single from the album, “Black Mamba,” is out, featuring the legendary Robby Krieger of The Doors. This track serves as a venomous introduction to the new era of Alice Cooper, packed with familiar classic riffs and electrifying energy.
“The Revenge of Alice Cooper” is a high-voltage journey into vintage horror and classic ’70s shock rock, capturing the sound, energy, and mischief that made the original Alice Cooper band legendary. In a truly special moment, the album features a posthumous appearance by Glen Buxton, the band’s original guitarist who passed away in 1997, through an unreleased recording that seamlessly blends the past with the present on “What Happened To You,” featuring his original guitar part.
If that wasn’t cool enough, one of the bonus tracks (box set & limited smart format) also includes a long-lost gem from 1970 – a raw, alternate take of “Return of The Spiders” (not the version heard on Easy Action)—recently unearthed from original multi-tracks missing for 50 years and now enhanced and mixed by Bob Ezrin.
Alice, Neal, Michael, and Dennis have reunited with their producer Bob Ezrin in a old-school recording studio in Connecticut, rekindling the magic from the 70s.This album is a celebration of friendship, nostalgia, and the timeless sound that solidified Alice Cooper as a rock icon. Fans can expect a powerful and nostalgic experience that bridges the gap between the band’s storied past and their vibrant present.From the venomous bite of “Black Mamba” to the rebellious charge of “Wild Ones,” and the soft, haunting melodies of “See You on the Other Side,” every track feels like a rock ‘n’ roll classic. “The Revenge Of Alice Cooper” is going to be released on July 25th, 2025 on earMUSIC in a wide variety of formats and limited vinyl colors. Also available as a limited box set and as a limited art print (smart format), featuring exclusive access to two bonus tracks from the start, plus the full album automatically delivered as a high-definition download on release day.
Metalville Records is releasing another set of archive recordings from the SWEET. This one being alternate mixes and demos from the Level Headed album. This looks like a new issue of a Record Store Day release from a few years ago. It does include an interview with Brian Connolly, as well as a shortened take of “Love Is Like Oxygen”, with a different vocal take (ending before the instrumental). What I also like here is a few of the instrumental (demo/rehearsal) takes – “California Nights”, the heavy “Unused Idea”, and “Air On A Tape Loop”. This is an interesting and enjoyable listen, as Level Headed was the album that saw a change from the band’s more hard-rock sound of the previous few albums, but listening to this, there was a lot of ‘rock’ here. Sadly, the last album to feature front-man Brian Connolly. But what a run of classic albums in the 70s. A ‘must’ for Sweet fans.
Level Headed, originally released in January 1978, was without doubt the most distinctive album SWEET had ever produced up to that point. AllMusic praised the album in their retrospective review for its wild mix of styles and the band’s shift from their earlier bubblegum singles to album-orientated rock.
In many ways, it was a gamble for SWEET. On the one hand, it shows many facets of the band that were easily overlooked on earlier albums and, at the same time, for the first time, new & previously unheard aspects.
Level Headed gave SWEET their last Top Ten hit with the dreamy “Love Is Like Oxygen,” a single that would later prove to be essential in the band’s oeuvre.
The new release Level Headed Alternate Mixes & Demos on METALVILLE RECORDS is a real rarity in SWEET’s catalog. The album was previously only available as a strictly limited vinyl version in the USA and will now be released on CD worldwide for the first time.
Music Legends Strawbs To Release ‘Magic From the Moon’ On Blu-ray June 9, 2025
British music legends Strawbs will be releasing “Magic From the Moon” on Blu-ray on June 9, 2025. A spectacular acoustic and symphonic concert from the Strawbs 40th Anniversary Show, this release showcases the acoustic talents of the Strawbs. The set list covers many milestones over their long career with the Strawbs performing songs from their 1969 self-titled debut album to the Dancing to the Devil’s Beat album from 2009.Special guest Sonja Kristina joins the Strawbs for four of the songs, singing Sandy Denny’s parts. This unique concert also features the closing extravaganza with the legendary Robert Kirby, along with members of the Royal Artillery Orchestra. The full contingent of Electric Strawbs (Dave Cousins, Rod Coombes, Dave Lambert, Chas Cronk, John Ford and Oliver Wakeman) faithfully recreate some of the great classics in the Strawbs vast repertoire.The Blu-ray also features an interview with Robert Kirby. Kirby discusses “David’s brilliant attitude towards music”, his time in the Strawbs, and working for the band. Rehearsal footage of the conductor and the orchestra is also included.This unique show, including the performances which feature Sonja Kristina, has never been released on home video since the concert was performed in 2009. Having only been seen by those in attendance at the show, this release promises to be of great interest among Strawbs fans across the globe.
Set List: 1. Simple Visions (Deep Cuts, 1976) 2. Josephine for Better or for Worse (Dragonfly, 1970) 3. Copenhagen (Dancing to the Devil’s Beat, 2009) 4. Cold Steel (Deja Fou, 2004) 5. Sail Away to the Sea (Strawberry Music Sampler, 1969) 6. On My Way (All Our Own Work, 1973) 7. All I Need is You (Strawberry Music Sampler, 1969) 8. Tell Me What You See in Me (The Strawbs, 1969) 9. Evergreen (Baroque and Roll, 2001) 10. The River (Bursting at the Seams, 1973) 11. Down By the Sea (Bursting at the Seams, 1973) 12. Heavy Disguise (Grave New World, 1972) 13. Where Silent Shadows Fall (Dancing to the Devil’s Beat, 2009)
Went and saw APRIL WINE as part of the BTO ‘Back In Overdrive‘ tour. I will say I was not there, so much to see BTO, so I won’t comment on them. I did include a few photos I took (apologies for quality, but hopefully you get the idea). The HEADPINS were also on the bill; the Headpins were the first band I ever saw when they opened for Loverboy in 1983, at the CNE in Toronto. This version of the Headpins doesn’t include Darby Mills, and sadly, founder/guitarist Brian McLeod passed away years ago, which leaves original members Ab Bryant and Bernie Aubin. They sounded good to me, as they played a short set of favorites like “Feel It (Feel My Body)”, “Line Of Fire” (outstanding!), “People” and closer “Turn It Loud” (plus a few others). Singer Kat Lawrences did a solid job on the classics, would be interesting to see if this version of the band records anything new. (Headpins pics)
Now… I really was interested in seeing APRIL WINE, who I first saw in 1984. I saw them again in ’92, oddly enough also in St Catharines, at a place then called ‘Route 66‘, about 2 blocks away from the arena, and no longer there. From those days only guitarist Brian Greenway remains. Bassist Richard Lanthier and drummer Roy Nichol have both been there for years, and upon retiring, band leader Myles Goodwyn (RIP) picked his replacement in Marc Parent. I last saw April Wine in 2018, a good show, but a bit tired at that point. While Goodwyn had a fairly distinctive voice, easily recognizable to fans, and hard-core fans may take issue with a new guy stepping in, Parent brought a lot of energy to the show, sounded great, and got the crowd going. Judging from crowd reaction, fans were enthused and happy to hear those classics again. And for anyone who likes April Wine it is mainly about the songs; the band has a huge catalogue, and a long list of hits in Canada, starting in 1971, and anyone that grew up listening to the radio here has heard all the hits (and more). They only played 45+ minutes, but it was packed with the hits that Canadians are familiar with most — “Oohwatanite” (w/ Brian Greenway singing) “You Could’ve Been A Lady”, “Bad Side Of The Moon”, “I Like To Rock”, “Say Hello”, “Sign Of The Gypsy Queen”, “Just Between You and Me” (with Parent making a brief speech about Myles Goodwyn, then bringing out Myles’ guitar to play), “Enough Is Enough”, “Before The Dawn”, and the inevitable closer “Roller”. For the time allotted, I don’t think the band could’ve chosen a better set-list! BTW, dug the Trailer Park Boys intro for the band, and the Littlest Hobo theme song playing as the band left the stage…..
Most impressive was the turn-out for this show, a nearly full arena. Hopefully promoters or whoever will take note and put together more such tours featuring a number of Canadian acts.
*April Wine returns to Europe, in October, to open for Uriah Heep (on their farewell tour)
Ok, so there was no ‘Volume 2‘ to Alice Cooper’s 1974 Greatest Hits album, which marked the end of the original band. But, back in those days record companies pushed out plenty of Hits compilations = parts 1,2,3…. from acts that didn’t necessarily have huge catalogues. Mercury Records in Canada released a Best Of Uriah Heep, and a Best Of Uriah Heep: Part 2 — from the band’s first 5 albums! Alice Cooper released 7 albums in a 7 year run, and produced a number of hit singles, and more live favorites – from the band’s 5 classic albums from 1971-73. I’ve put together my own picks of those songs that were not A side singles and/or big radio hits, and I’ve included tracks from the band’s first 2 records (Pretties For You, 1969, and Easy Action, 1970) as they were excluded from Greatest Hits (as they weren’t on Warner Brothers, or did particularly well). I’ve included times, and kept each side to under 20 minutes, as per the LP standard times back then. As well I’ve included the single times, wherever possible.
Would be interested in seeing your choices in the comments!
Alice Cooper: Greatest Hits, Part 2
Side A
Reflected (2:50)
Shoe Salesman (2:48)
Return Of The Spiders (3:38)
Caught In A Dream (2:55)
The Ballad Of Dwight Fry (6:33)
You Drive Me Nervous (2:24)
Side B
Luney Tune (3:36)
Public Animal #9 (3:53)
I Love The Dead (5:08)
Working Up A Sweat (3:31)
Hard Hearted Alice (4:50)
Reflected
“Reflected” was the A-side of Alice Cooper’s first single. From Pretties For You. It is best remembered as the song that was later re-written as “Elected”. This was credited to Alice Cooper (band) as writers & producers. I almost included “Living” (the b-side), but left it off. Look up the band’s 1969 TV appearance ‘performing’ this song – HERE.
Shoe Salesman
The single from Easy Action, credited to band. I loved this one when I first heard this record. So different and easily likeable. How was this not a hit (even a minor one!) at the time?
Return Of The Spiders
The B-side to “Shoes Salesman”, also credited to the entire band. More upbeat and aggressive, and reflecting on the band under another name. Insistingly the band has re-done this for their upcoming reunion album, The Revenge Of Alice Cooper.
Caught In A Dream
The 2nd single and my favorite from Love It To Death, penned by Michael Bruce. Hard to see how this wasn’t a big hit.
The Ballad Of Dwight Fry
The epic tribute to American horror film actor Dwight Frye, this became a huge live favorite right away. I chose this for that reason, along with “I Love The Dead”, as both are among the top 10 AC songs ever performed live (according to setlistfm.com )
You Drive Me Nervous
The B-side to “Be My Lover” in some territories (“Yeah Yeah Yeah” was B-side in Canada & the US), and a great aggressive rocker that opens side 2 of Killer. Penned by Michael Bruce, Alice, and Bob Ezrin.
Luney Tune
Issued as the B-side to 1972’s “Elected”; a classic Alice teen trouble story & anthem, credited to Dennis Dunaway & Alice.
Public Animal “9
Also from School’s Out. Strange that there was no 2nd single from that album, as this would’ve made a perfect one. The only 7 inch version I see of this anywhere is a 4-track jukebox single from Thailand! This one got played live, and there’s great footage of the band’s performance of this at the Beat Club, in Germany.
I Love The Dead
Though not issued as a single (A or B), this was a big fan favorite and highlight of the live show, and I’m sure just the title alone created enough interest and controversy.
Hard Hearted Alice
There’s this (& “Working Up A Sweat”) from Muscle Of Love, both used as B-sides, and both played live at the time. An excellent ballad, about the band. Both would’ve made better A-sides than “Teenage Lament 74” (IMO).
Working Up A Sweat
The b-side to “Teenage Lament ’74”, opened side 2 of the album, and featured in the live set. Classic upbeat Alice track. I really had a difficult time narrowing it down to just 2 from MOL, due to vinyl time restraints. I also wanted to include “Big Apple Dreamin”, but opted for these 2).
Outsider Rock 