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Rob jammed with alice copper on 'elected' and 'feed my frankenstein' (Where was it ? and When ?)
Rob played a duo with him on the lame compilation "Songs in the key of X".
This song appears also on Alice Cooper's Life and Crimes of A.C.
There is also another version of it : Spookshow 2000 [3:53] Who remixed this track ?

And once Alice joined White Zombie on stage with his bloody white top hat, coat and cane to sing School's Out, at the Irvine Meadows Ampitheatre on Halloween October 28th, 1995.

Finally the recent Alice Cooper albums sounds more synthetic who was mixing / producing them ?


The interview is about the return of the rock show. Transcipted on Route 666

Pulse!: Why are a lot of groups that emphasize performance value gaining popularity?
Cooper: I think everything goes in cycles. I wouldn't be surprised to see commercial heavy metal come back in vogue, Bon-Jovi style, in four or five years. For a long time all the new bands were like, "Let's see how boring we can be. Let's see how depressed we can make the audience." I don't know if that's what they think they're supposed to do.
Zombie: I always thought it was because the metal bands and the thrashier bands came from working-class backrounds and they really appreciated everything they got, and wanted to make their lives something. Whereas theses alternative bands were a lot of rich, snooty, whiny college kids. They were just playing a game.

Pulse!: Alice, what inspyou to invent such a wild stage show?
Cooper: We were the ultimate TV generation band. Our music was a combination of the Yardbirds, Chuck Berry, Beatles, John Berry and broadway. People wouldn't understand why we would sit around listening to West Side Story, but I always felt that if we could just write something that was cool as that, only rock'n'roll, that would be greta.

Pulse!: How about you, Rob? What possessed you?
Zombie: I can answer that in one sentance. The first record I ever got was an Alice Cooper record, and i was in third grade. Some kids get a Barney record, I got an Alice Cooper record and the rest is history.

Pulse!: Why do you think kids are so personally tapping into the theatrics and outrage of groups like Marilyn Manson?
Zombie: Because that angle of music is always larger than life, and you can become very fanatic about it. It's like Star Wars is something to be fanatic about. You can't be a Jerry McGuire fanatic. There's nothing there.

Pulse!: What's the key to success for a theatrical rock group?
Cooper: I've always said if you want to be a legendary character you've got to go as far out on a limb as you can for the time that you're living in. And if you make it, you get huge. But if you don't you look like such an idiot and you last about three minutes and it's over.
Zombie: But I think a lot of that is dying with MTV. I know when i was little and I was an Alice Cooper fan, there were so many weird rumors and insanity that just spread. the rumors become bigger than the reality and it just became this legendary thing. Whereas, MTV makes everything look the same. It's all prepackaged and there's no mystery.
Cooper: When I think of the Velvet Underground I still wonder what these guys were into. There was never a commercial push for those guys, and to me they're still legendary because I still don't know anything about them. Pretty soon somebody's gonna find out that marilyn manson does something normal. They'll find out he drives a car or goes to the bank, and then all of a sudden everyone will be disappointed. His image is so unearthly, unless he can live a Michael jackson kind of existence he'll never be able to keep up the mystique.

Pulse!: Why are people so attracted to the darkness conveyed by bands like Alice Cooper and marilyn Manson?
Cooper: When you're about 14 or 15, the most funthing in the world is to out-gross somebody. So when somebody comes along that's really gross, that's your band.

Pulse!: Do you think your sense of humor has prevented you from reaching the level of success Marilyn Manson has? Maybe people want something sick and depraved for real?
Zombie: But none of it is for real. Maybe if you're 12 you buy into it. When I was 12, I looked at KISS and i didn't know they ever took the makeup off. I thought they lined like that. But it's all fucking show business.

Pulse!: Did you want the horror show to look as real as possible, or did you enjoy having an element of schlock?
Cooper: I love schlock, but at the same time, when I was guillotine, that was not schlock. To this day, if you take a videotape of the guillotine and stop it with my head lopping off, you cannot tell how it's done. And th thing only missed me by 6 inches .

Pulse!: Can you share the secret?
Cooper: Uhhh, no. But I can tell you I had to go rehearse with stunt men because I wanted it to look as real as possible.

Pulse!: What's the biggest catastrophe that ever happened onstage regarding a special effect malfunction?
Cooper: We'd done the hanging, the guillotine, the electric chair. We'd done everything to poor Alice. So we decided to shoot him out of a cannon. That was about 1975, and we had this cannon built that was about 20 feet long. So we were in Detroit, and I get in the cannon and escape out the back. And they load this dummy in and light the fuse. The thing goes, "BOOM!" and the dummy comes out about three feet and hangs out of the barrel. The next day we put the cannon away, and a week later somebody in the Rolling Stones saw it and said they wanted it. They wanted Mick Jagger to sit on it as a phallic symbol and make foam come out of it. So luckily, we didn't get stuck for the cost of the cannon.
Zombie: We seem to run into the most unexpected problems with pyro. People pack way too much into these explosives and something will blow up and you're completely blinded for a minute and you can see the front row of security's hair is sizzling. When you have a big show something goes wrong every single night. The crucified clowns are supposed to come down, but they're caught in the pyro, which is caught on the curtin. When it works it's the best feeling, but things are always timed in such a way where if they don't get out of the way, I'm gonna be on fire in two seconds.

Pulse!: How did you like the flamboyant hair-metal bands in the '80s?
Cooper: As bad as they were , they were more exiting to watch than a lot of groups today. Poison would do backflips, and I applauded that because these guys actually spent eight hours jumping off the stage, doing a backk flip and landing in the splits. I think that's cool.

Pulse!: Do you think most alternative bands came out as a reaction to the cheesiness of hair metal?
Cooper: Absolutely. After this depression period is over, everybody's going to be up. The next generation is probably going to be more romantic. There will be some crooner that will be like the next Sinatra, and he'll be the biggest star. He's about 12 years old somewhere now, and he doesn't even know he's gonna be the guy. And then, there's gonna be somebody that makes me and Rob look like kindergartners to offset him.


O: You're regarded as the father of shock-rock, and the man upon whose shoulders the likes of Marilyn Manson stand. But most of those people seem to not be having any fun.
AC: Boy, did you hit it on the head. The only person out there who's having any fun with this is Rob Zombie. And it's clear when you listen to his albums, and when you see his show, that he's having a great time. And the other people look like they're just tortured souls up there, and you go, you know, "Guys! Lighten up! The image is heavy and everything, but you don't have to really be that. " These guys are trying to live their lives the way their image is, and I'm going... The idea behind rock 'n' roll is joy. It's joyful music. It's not a depressing thing. You know, the big difference between an Alice Cooper show and a lot of the shows you're talking about I won't specifically say anyone is that I always left the audience on an upper. I left them inspired rather than... They walk away going, "Wow, I've got confetti in my hair and Alice has got a white tuxedo on, and he just did 'School's Out,' and balloons are popping." And then they remember back, and they go, "Wow, he did a thing with a baby carriage, and he did this, and then he got his head cut off. What a great night!" [Laughs.] They always walked out with big smiles on their faces. Whereas I know a lot of people walk out [of shows now], and they go, "Wow, my life is over." I don't know what they're going for. Are they trying to depress an audience?
O: You mentioned that you guys were anything but satanic. You're fairly outspokenly Christian.
AC: Well, I mean, it's one of those things where I try not to put the two on stage, because they're different worlds. But at the same time, I always say, when people call me [satanic], that it's probably the worst insult you can give me. I'm certainly not trying to be like that. The image has always been misconstrued, I think. Again, it's people forgetting to have fun with the character, and I always go, "Hey! Alice is a character! Come on, guys." They really, truly expect me to live in this big gray house with a big cloud over it, like the Munsters. Of course, Rob Zombie's house is kind of like that. Rob Zombie's house really is pretty much the Munsters' house. [Laughs.]


I have a question : What was the connection between alice copper to salvador dali ?



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Last modified: Thu Jun 15 00:43:47 CEST 2006