Published on Mar 9, 1997
According to legend, Vincent Furnier became Alice Cooper after a
Ouija board revealed that he was a modern day incarnation of a 17th
century witch. Arriving in Los Angeles in the late 60’s, Cooper was
the pioneer of rock theatrics. By 1970, after two minor label
releases, Cooper had established a well known stage repertoire that
included simulated executions and draping himself with live
boa-constrictors.
Even though the first albums were poor sellers, Warner Brothers
signed the band anyway, and released
Love It To Death in 1971. It’s a good thing too, for Cooper
and his band members were rumored to be holed up in a single room
hotel, literally on the brink of starvation on the eve of its
release.
Love It To Death was the breakthrough album for Cooper,
which included the #21 hit “I’m Eighteen”. Recorded on poor
equipment (even for those days),
Love It To Death has an unusually raw feel, similar to that
of basement band recordings. The guitar signals run straight to the
amp, with nothing more than tube fuzz to dress up the sound on most
of the tracks. Cooper’s singing, at certain points, is completely
off time. Through all of this, producer Bob Ezrin (Pink Floyd)
pulls an amazing piece of work together that has the benefits of a
studio recording, while maintaining a very live feel.
Most of the album’s tracks are still catchy today. “Caught In A
Dream” is a mood heightening track that’s a perfect driving song.
“I’m Eighteen” spelled teen angst long before kids were getting
high on “Teen Spirit”. Simple rhythms and leads back Cooper’s
whiskey seasoned voice, which crows irresistibly catchy (albeit
simple) lyrics. Darker songs include “The Ballad Of Dwight Fry”, a
chilling tale of Dwight’s experience in a mental ward. The lyrics
are a masterpiece of fear, paranoia, and tongue in cheek humor.
Reasoning with himself, Dwight envisions what he’ll do after his
release: “…she’s only four years old. I’d give her back all of
her playthings, even the ones I stole.” While the line may not be
immediately funny, taken with the song and Cooper’s inflection, you
can’t help but chuckle.
A few tracks on the album are downers today. “Black Juju” is an
overly long groove tune that was probably cool during the marijuana
haze of the late 60’s – early 70’s, but without a perception
heightening drug to accompany the track, it’s totally bogus.
Overall,
Love It To Death is a fun album that deserves an occasional
listen. When you do, you’re sure to find several modern rock
beginnings, and some catchy storytelling.