Fly Warner Bros. Records, December 27, 1971 A full‑page Warner Bros. Records advert trumpeting the Alice Cooper Group’s explosive rise across North America at the close of 1971. Issued on December 27, 1971, the piece framed the band as shock‑rock’s newest high‑altitude phenomenon — “Alice Cooper is stunning North America!” — backed by a string of record‑breaking arena grosses that proved the chaos was paying off in hard numbers. The advert spotlighted three consecutive house‑

Alice Cooper’s gritty glam‑rock single “Under My Wheels” debuted at #59 on the US Billboard Hot 100 on December 25, 1971, beginning an 8‑week chart run that marked the ignition point of the Killer Tour era. The track’s sharp guitars, snarling attitude, and tight production helped propel the band into wider U.S. visibility as their theatrical identity solidified. A key early chart moment, signalling the band’s rising momentum as weekly climbs continued into 1972.

Down With Alice – Feature : 1971 Melody Maker, 1971 A vivid Melody Maker feature capturing the Alice Cooper Group in full early‑era revolt, “Down With Alice” examined the band’s shock‑rock uprising at the moment it was beginning to unsettle the British music press. The piece framed Alice as a glam‑horror insurgent — a mascara‑smeared disruptor dragging rock into stranger, darker, and more theatrical territory than anyone else dared attempt in 1971. Melody Maker explored the

A one‑page advert in Rolling Stone, dated December 23, 1971, promoting the Alice Cooper Group’s Killer era with stark shock‑rock imagery and the promise of escalating theatrical darkness. Positioned at a pivotal moment in the band’s rise, the advert framed the guillotine‑driven stage show as the beginning of rock’s most notorious spectacle. A dramatic late‑’71 promotional piece capturing the launch of the Killer campaign and its weekly intensification of shock‑rock theatrics.

The December 1, 1971 concert at the Academy of Music, New York City marked the world premiere of Alice Cooper’s now‑iconic mock hanging execution, unveiled as the grand‑finale spectacle of the newly launched Killer Tour. Although a handful of warm‑up dates had taken place the week prior, this show served as the official kickoff, introducing the full theatrical escalation that would define the band’s shock‑rock legacy. Before this moment, the Love It to Death Tour climaxed wit

A full‑page Billboard on‑tour advert promoting the Alice Cooper Group’s late‑1971 U.S. dates, issued as the band were breaking nationally on the strength of Love It to Death and the rising shock‑rock buzz surrounding their live show. The advert positioned the group as one of Warner Bros.’ most aggressively pushed touring acts of the season, highlighting their expanding itinerary and growing reputation for theatrical, chaotic, and utterly unpredictable performances. A snapshot

Alice Cooper's Shock-Rock Breakthrough

Alice Cooper Group’s “Under My Wheels,” backed with “Desperado,” was released as a 7‑inch vinyl single in the UK on November 5, 1971 by Warner Bros. Records (catalog K 16135). The release was timed to coincide with the group’s three UK concert dates, and they also performed the track on *The Old Grey Whistle Test*, boosting its visibility during the early Killer era. November Dates 02: France - Espace Cardin, Paris 04: UK - Mayfair Suite (Kinetic Circus), Birmingham, England

Alice Cooper Group’s Under My Wheels, backed with Desperado, was released as a 7‑inch vinyl single in the United States on September 28, 1971 by Warner Bros. Records (catalog WB 7529). This early Killer‑era release helped establish the band’s harder, sharper sound as they moved toward their breakthrough year. USA - Warner Bros. - 1971 Taken from the Killer album, the single debuted on the US Billboard Hot 100 at No. 88 during the week of December 25, 1971, peaking at No. 59 o

North Baltimore, Ohio – August 21, 1971 A Love It to Death–era headline show at The Park in North Baltimore, Ohio, on August 21, 1971, capturing the Alice Cooper Group in the thick of their ascent from regional oddities to national shock‑rock sensations. This period marked the sharpening of their stage theatrics — snakes, guillotines, menace, and slapstick chaos — all delivered with the raw, hungry energy of a band on the brink of breaking big. The Park date stands as one of