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David Bowie’s Repackaged & Remastered Albums, a one-page UK advert, September 6–20, 1999.

Alice Cooper’s Old School (1964-1974), released through Universal Music Enterprises on December 4, 2012 (catalog number B0017607-02), is a 3-CD and 1-DVD box set chronicling the early years of the Alice Cooper Group. Featuring demos, pre-production and rehearsal recordings, radio spots, interview anecdotes, and a full live show from the 1971 Killer tour in St. Louis, the set also includes School’s Out demos, live versions, and original recording sessions with producer Bob Ezrin and the kids’ choir. Accompanied by a 60-page yearbook with rare photos, it was praised in a 2012 Classic Rock review for its comprehensive dive into Cooper’s rise as a shock-rock pioneer. Tracklist (CD 1 - Early Demos, Rehearsals, and Rarities): No Price Tag (Spiders Single, 1966) – 2:03 Nobody Likes Me (Demo) – 3:20 Don’t Blow Your Mind (Spiders Single, 1966) – 2:36 Hitch Hike (Pretties for You Outtake) – 2:01 Why Don’t You Love Me (Pretties for You Outtake) – 2:10 Lay Down and Die, Goodbye (Original Version) – 2:07 Catch Me If You Can (Easy Action Outtake) – 3:15 Changing, Arranging (Pretties for You Rehearsal) – 3:00 Mr. and Misdemeanor (Easy Action Rehearsal) – 3:12 Shoe Salesman (Easy Action Demo) – 2:39 Tracklist (CD 2 - Killer Tour, Live in St. Louis, 1971): Be My Lover (Live) – 5:17 You Drive Me Nervous (Live) – 2:28 Yeah, Yeah, Yeah (Live) – 3:39 I’m Eighteen (Live) – 5:15 Halo of Flies (Live) – 10:21 Is It My Body? (Live) – 2:50 Dead Babies (Live) – 5:44 Killer (Live) – 6:57 Long Way to Go (Live) – 3:10 Tracklist (CD 3 - School’s Out Demos and Sessions): School’s Out (Demo) – 3:30 Luney Tune (Pre-Production) – 3:40 Gutter Cat vs. The Jets (Demo) – 4:35 Street Fight (Studio Outtake) – 0:55 Blue Turk (Rehearsal) – 5:25 Alma Mater (Alternate Version) – 4:25 School’s Out (Original Session with Kids’ Choir) – 3:28 Public Animal #9 (Demo) – 3:50 Grande Finale (Pre-Production) – 4:30 Tracklist (DVD - Video Content): Killer Tour Footage (St. Louis, 1971) – Various Clips Interview Anecdotes (1964-1974) – 15:00 Radio Spots (Various, 1971-1974) – 5:00 School’s Out Recording Session Clips (with Bob Ezrin) – 10:00 Note: Tracklists and durations are based on the 2012 Old School (1964-1974) box set (Universal Music Enterprises).

Alice Cooper’s Classicks , originally released as a CD compilation in 1995 through Epic Records (catalog number EK 66207), was reissued by Music On Vinyl on September 7, 2018. This marked its first vinyl release, limited to 3,000 numbered copies on 180-gram red vinyl (catalog number MOVLP2242). Featuring hits from 1989–1995, it was noted in a 2018 Record Collector review for its vibrant sound and appeal to fans of Cooper’s late ’80s and early ’90s glam-metal era.Tracklist: A1. Poison A2. Hey Stoopid A3. Feed My Frankenstein A4. Love’s a Loaded Gun B1. Stolen Prayer B2. House of Fire B3. Lost in America C1. It’s Me C2. Under My Wheels (Live) C3. Billion Dollar Babies (Live) C4. I’m Eighteen (Live) D1. No More Mr. Nice Guy (Live) D2. Only Women Bleed (Live) D3. School’s Out (Live) D4. Fire Note: The tracklist is based on the 2018 Music On Vinyl 2-LP reissue, as confirmed by sources like Discogs and Music On Vinyl’s official listing. The live tracks are from performances included in the original 1995 compilation

David Bowie’s Young Americans , a one-page advert in Rolling Stone, April 10, 1975.

David Bowie’s Stage , a one-page advert in New Musical Express, October 14, 1978.

Alice Cooper’s From The Inside , a one-page review in Rolling Stone, February 8, 1978. IF ANYONE COULD PULL off a concept album about life in a sanitarium, it's Alice Cooper, the man who turned dead-baby jokes into high-school national anthems and made a whole career of exactly the kind of comic grotesqueness the new LP promises. And From the Inside isn't an obvious failure: the songs are full of good ideas, the lyrics often close to brilliant. Then why does everything sound so forced and overwrought? Because, despite the autobiographical nature of the material (Cooper hospitalized himself for alcoholism last year), the artist has apparently been trapped by his own concept. He's working too hard and not having a good time at all. Part of the problem is that neither Cooper nor co-lyricist Bernie Taupin seems to have figured out what kind of attitude to take toward the subject—and attitude is crucial to a record like this. For instance, you might argue with David Bowie's point of view on Diamond Dogs—you ought to, in fact—but at least it's a point of view. Cooper and Taupin, however, can't decide whether to treat their loony bin straight or turn it into pop Grand Guignol (which is what you'd expect this singer to do, and which would have been infinitely preferable), and their uncertainty blurs the impact of every cut. "I just can't get these damn wrists to bleed" is a great line—sending up every phony suicide attempt you've ever known—yet Cooper sings it as a tragic howl from the depths and thereby misses his own point. "Millie and Billie," too, could have been a marvelous parody—a duet between two lovers who've murdered the woman's husband, leaving him "All sliced up and sealed tight in Baggies"—but it's inexplicably treated as a tearjerker, with melodramatic strings pulsing in the background while Cooper offers a vocal almost as cloying as that of his female partner (Marcy Levy, in a role that would have been perfect for Lesley Gore). This from the guy who once sang, "Well, we got no class/And we got no principles.... We can't even think of a word that rhymes"? As far as Deep Thoughts go, the best Cooper and Taupin can come up with is "Inmates (We're All Crazy)," an idea that's been stale since R.D. Laing, pure kitsch long before One Flew over the Cuckoo's Nest and probably meretricious to begin with. Producer David Foster has put together a crack session band that includes longtime Cooper guitarist Dick Wagner (who also cowrote most of the songs), guest guitarists Davey Johnstone and Rick Nielsen, percussionist Jim Keltner, et al. But their cool competence—which also affected Welcome to My Nightmare and Goes to Hell—is all wrong for this artist. As Linda Ronstadt's version of "Back in the U.S.A." recently demonstrated, few things are more unconvincing than slick musicians trying to sound raw—and rawness

David Bowie’s Lodger , a one-page advert in Melody Maker, May 26, 1979.

Alice Cooper Group's album Billion Dollar Babies opening track is actually a cover version, "Hello Hurray" was originally written by Canadian singer-songwriter Rolf Kempf, and first recorded by Judy Collins on her 1968 album Who Knows Where the Time Goes. The Alice Cooper version was released as a single (now spelled "Hello Hurray"), reached 35 on the Billboard Hot 100. It also saw success internationally, reaching 6 on the UK Singles Chart, 6 in the Netherlands on the Mega Charts 13 on Germany's Media Control Chart, 14 on the Ireland chart, 16 on the Austria chart and 95 on Australia's ARIA chart. Record World said of it that "Alice departs from its usual high energy with this slower tune written by Rolf Kempf." The Alice Cooper version also appeared in the film X-Men: Days of Future Past.

David Bowie’s Lodger , a one-page advert in Melody Maker, June 2, 1979.

Gloria Jones’s Vixen  was released as an LP album in the UK by EMI Records (catalog number EMC 3159) on December 3, 1976. It features songs written by Marc Bolan, as well as the only two confirmed Bolan and Jones co-writes, "High", and "Cry Baby". It also features an updated version of "Tainted Love", which Gloria originally recorded in 1965. Recorded at MRI Studios, Holly-wood; Scorpio Sound, London; AIR Studios, London. Produced by Marc Bolan and Gloria Jones. Engineered by Gary Ulmer, Mike Stavrou, and others. REVIEWS: "Fine British debut album from Mr Bolan's old lady - and there's more than a few T.Rex in-fluences. Gloria sounds remarkably like Aretha Franklin on 'I Ain't Going Nowhere'. On 'High' you can tell that Marc was at the controls and there's a weird distorted guitar in the background... 'Tell Me Now' is a curious mixture of Bolan and soul, but strangely successful. Ms Jones is a talented lady - I bet Marc's proud." Robin Smith, Record Mirror "Quite a spirited album from Gloria Jones, co-produced by her paramour Marc Bolan. Good value for the length of twelve tracks, but the material isn't strong enough to sustain interest ... there is nothing here as convincing as the songs Gloria co-wrote for Tamla Motown, notably with Pam Sawyer. Vocally, side one captures her nearer her best." Anonymous, Melody Maker TRACKLIST: Side 1: "I Ain't Going Nowhere" (Jones, Pam Sawyer) "High" (Marc Bolan, Jones) "Tell Me Now" (Marc Bolan) "Tainted Love" (Ed Cobb) "Cry Baby" (Marc Bolan, Jones) "Get It On (Part 1)" (Marc Bolan) Side 2: "Go Now" (Larry Banks, Milton Bennett) "Would You Like to Know" (Gloria Jones, Richard Jones) "Get It On (Part 2)" (Marc Bolan) "Drive Me Crazy (Disco Lady)" (Marc Bolan) "Sailors of the Highway" (Marc Bolan) "Stage Coach" (Jones)

Iggy Pop’s Lust For Life , a one-page review in Rolling Stone, January 1, 1978. Pop RCA AFLI-2488 By Billy Altman IGGY POP'S SECOND comeback album leaves one with ambivalent feelings: glad that Iggy is alive, apparently well, writing, singing and performing again, but upset because his new stance is so utterly unchallenging and cautious. Taken purely on its own terms, Lust for Life is a successful album. Side one is quite good, starting with the title cut, which rocks with a Sandy Nel- son-like drum style while Iggy delivers his survivor message to the masses, and continuing to the closing track, "Tonight," easily the most straightforward pop song Iggy has written. Side two is considerably weaker, with a pair of overdrawn ballads, an infectious throwaway and one bona fide winner, the ominous "Neighborhood Threat." Were this just another album by just another artist, that might be the end of it, but Iggy Pop has never been just another entertainer. As rock's truest bad boy, Iggy led the Stooges with a vision of frustrated, depressed and angry young adult life that will probably never be seen (or dared) again. That he has come back from the edge relatively intact is almost a miracle. With David Bowie as producer and guide, he is actually realizing a career for the first time. Like Lou Reed, Iggy is most likely headed on a course just left of center, bizarre enough to attract those inclined toward something different but safe enough not to scare them away.

David Bowie’s Lodger  was released as an LP album in the UK by RCA Records (catalog number PL 13254) on May 25, 1979. It was recorded in collaboration with musician Brian Eno and producer Tony Visconti and served as the final installment of his Berlin Trilogy, following "Low" and "Heroes" (both 1977). Recording sessions took place in Switzerland in September 1978 during a break in the Isolar II world tour, and later in New York City in March 1979 at the tour's conclusion. Most of the same crew from the previous albums returned, joined by future King Crimson guitarist Adrian Belew from the tour. The sessions incorporated techniques inspired by Eno's Oblique Strategies cards, like swapping instruments and playing old songs backward. The music on Lodger is based in art rock and experimental rock. It lacks the electronic and ambient styles and the song/instrumental split of its two predecessors, favouring more conventional song structures and exploring styles such as avant-pop, world and new wave music. Lyrically, the album is divided into two major themes: travel (side one) and critiques of Western civilisation (side two). The pop artist Derek Boshier took the cover photo, portraying Bowie as an accident victim across the gatefold sleeve. Lodger was a modest commercial success, peaking at number 4 in the UK and number 20 in the US. It produced four singles, including the UK top 10 hit "Boys Keep Swinging". Music videos directed by David Mallet accompanied three of the four singles. The album initially received mixed critical reviews, with many calling it the weakest of the Berlin Trilogy. Reception has grown in subsequent decades and it is now widely considered to be among Bowie's most underrated albums. Its world elements have been highlighted as particularly influential. Bowie and Visconti were dissatisfied with the album's original mix and, in 2015, Visconti remixed the album with Bowie's approval for inclusion on the 2017 box set A New Career in a New Town (1977–1982), along with a remaster of the original. courtesy Wikipedia

David Bowie’s Labyrinth, from the original soundtrack of the Jim Henson film featuring Jennifer Connelly as 16-year-old Sarah and David Bowie as Jareth, the Goblin King, was released as an LP album in the UK by EMI America Records (catalog number AML 3104) on June 23, 1986. Overview of Labyrinth Labyrinth is a fantasy adventure film produced by Jim Henson Productions and Lucasfilm, released in theaters on June 27, 1986, shortly after its soundtrack dropped. The story follows Sarah Williams (Jennifer Connelly), a 16-year-old girl who wishes her baby stepbrother Toby away to the goblins in a moment of frustration. Jareth, the enigmatic Goblin King (David Bowie), grants her wish but gives her 13 hours to solve his labyrinth—a sprawling, magical maze filled with bizarre creatures, traps, and riddles—to retrieve Toby before he’s turned into a goblin forever. The film blends Henson’s signature puppetry with live-action performances, creating a visually stunning world inspired by fairy tales, mythology, and fantasy literature. Despite its initial commercial and critical underperformance, Labyrinth has become a cult classic, celebrated for its imaginative design, memorable music, and complex characters. Production and Development Origins and Concept Jim Henson’s Vision: After the success of The Dark Crystal (1982), Henson wanted to create another fantasy film but with a lighter tone and human protagonists. He aimed to blend puppetry with a coming-of-age story rooted in fairy tale traditions. Inspiration: The film drew from classic works like The Wizard of Oz, Alice in Wonderland, and the Brothers Grimm, as well as Maurice Sendak’s Outside Over There, which features a girl rescuing her sibling from goblins. Mythological labyrinths, such as the Minotaur’s maze, also influenced the narrative. Collaboration: Henson recruited conceptual designer Brian Froud, who had worked on The Dark Crystal, to craft the film’s visual aesthetic. Froud’s whimsical, grotesque designs shaped the labyrinth’s creatures. George Lucas, fresh off Star Wars, served as executive producer, contributing to story development and editing. Screenplay and Direction Writing: The script went through multiple drafts, with contributions from Henson, Terry Jones (of Monty Python), and others. Jones’ draft added humor and surrealism, though some of his ideas were toned down to balance the film’s tone. Challenges: Henson struggled to balance the film’s darker fairy-tale elements with accessibility for younger audiences. The result is a unique tone—part whimsical, part unsettling—that divides viewers but fuels its cult appeal. Casting Jennifer Connelly: At 14 during filming (playing a 16-year-old), Connelly was chosen for her ability to convey Sarah’s emotional journey from petulant teen to self-assured young woman. Her performance, though understated, anchors the film’s human element. David Bowie: Bowie, a global music and acting icon, was Henson’s first choice for Jareth. His charisma, androgynous allure, and musical talent made him perfect for the multifaceted Goblin King—a seductive, menacing, yet oddly sympathetic figure. Bowie’s involvement also ensured the film’s soundtrack would be a major draw. Puppetry and Visual Effects Creature Shop: Henson’s Creature Shop created over 100 puppets, from the lovable Ludo to the mischievous goblins. The film’s sets, built at Elstree Studios in England, included a massive labyrinth with shifting walls and optical illusions. Innovative Techniques: The film used animatronics, blue-screen effects, and early CGI (e.g., the owl in the opening credits). The “Helping Hands” scene, where hands form faces to speak to Sarah, showcases Henson’s creative puppetry. Challenges: The production was grueling, with complex scenes requiring precise coordination between puppeteers, actors, and effects teams. Connelly and Bowie often performed alongside puppets, adding authenticity but also technical difficulty. The Soundtrack Released on June 23, 1986, by EMI Records, the Labyrinth soundtrack features six original songs written and performed by David Bowie, alongside Trevor Jones’ orchestral score. Bowie’s contributions are integral to the film’s tone and narrative, blending pop, rock, and theatrical styles. Key Tracks “Magic Dance”: A funky, upbeat anthem played during Jareth’s goblin party, with lyrics like “You remind me of the babe!” It’s catchy and quirky, capturing Jareth’s playful menace. Bowie recorded with a live band, and the song remains a fan favorite. “As the World Falls Down”: A dreamy, romantic ballad performed during Sarah’s surreal ballroom scene, where Jareth tries to seduce her. Its lush melody contrasts with the scene’s unsettling undertones, highlighting Jareth’s manipulative charm. “Within You”: A haunting, dramatic track sung by Jareth in the film’s climax, expressing his conflicted feelings for Sarah. Its operatic intensity underscores the character’s emotional depth. “Underground”: The film’s opening and closing theme, a synth-driven pop song with gospel influences. It sets the fantastical tone and reflects Sarah’s journey of self-discovery. “Chilly Down”: Performed by the Fire Gang, this jazzy, chaotic track features Bowie’s vocals (though in the film, the creatures’ voices are altered). It’s less prominent but adds to the labyrinth’s eccentric vibe. Trevor Jones’ Score: Jones’ instrumental tracks, like “Into the Labyrinth” and “The Goblin Battle”), weave Celtic and classical motifs, enhancing the film’s otherworldly atmosphere. Production Notes Bowie wrote the songs after receiving the script, tailoring them to Jareth’s personality and the film’s emotional beats. He recorded in London and New York, working with producers like Arif Mardin. The soundtrack’s mix of genres reflects Bowie’s versatility, though some tracks (e.g., “Underground”) were criticized as too commercial for his avant-garde fans. The album peaked at No. 68 on the Billboard 200 but gained traction over time, with vinyl reissues in the 2010s fueling its resurgence. Cultural Impact The soundtrack introduced younger audiences to Bowie, bridging his 1980s pop stardom with his theatrical persona. “Magic Dance” and “As the World Falls Down” are frequently covered and referenced in pop culture, from TikTok trends to TV shows. Themes and Analysis Labyrinth is more than a fantasy romp—it’s a layered exploration of adolescence, power dynamics, and self-empowerment, wrapped in a fairy-tale aesthetic. Coming of Age Sarah’s Journey: Sarah starts as a self-absorbed teen, resentful of her stepmother and baby brother. The labyrinth forces her to confront her flaws—impulsiveness, naivety—and grow into a responsible, courageous young woman. Her final declaration to Jareth, “You have no power over me,” symbolizes her reclaiming agency. Fantasy vs. Reality: Sarah’s love of fairy tales and role-playing reflects her escapist tendencies. The labyrinth blurs the line between her imagination and reality, suggesting her adventure may be a psychological journey. Power and Manipulation Jareth as Antagonist: Jareth is a complex villain—charismatic, manipulative, and possibly in love with Sarah. His actions (kidnapping Toby, tempting Sarah) reflect a desire for control, but his vulnerability (e.g., in “Within You”) humanizes him. Some interpret him as a metaphor for toxic relationships or the allure of adulthood. Gender Dynamics: The film has sparked debate about its portrayal of Sarah and Jareth’s relationship. While Sarah’s empowerment is central, Jareth’s seductive behavior toward a teenage girl raises modern eyebrows. Henson intended Jareth as a romantic figure, but contemporary readings often critique the age gap and power imbalance. Myth and Symbolism The Labyrinth: A universal symbol of trials and transformation, the labyrinth represents Sarah’s inner turmoil and path to maturity. Its shifting structure mirrors life’s unpredictability. Goblins and Fairy Tales: The film subverts fairy-tale tropes. Goblins aren’t just evil—they’re chaotic and absurd. Jareth isn’t a straightforward monster but a multifaceted trickster, echoing figures like Puck or Loki. Cultural Impact and Legacy Initial Reception Labyrinth flopped at the box office, grossing $12.9 million against a $25 million budget. Critics were mixed, praising the visuals and Bowie’s performance but finding the story uneven or too dark for kids. Henson was devastated by the failure, which contributed to his shift away from directing feature films. Tragically, he died in 1990, never seeing the film’s cult resurgence. Cult Classic Status Home video releases in the 1980s and 1990s introduced Labyrinth to new generations. Fans were drawn to its quirky characters, quotable lines (“It’s not fair!”), and Bowie’s magnetic presence. The film’s aesthetic—80s fantasy with a punk edge—resonated with subcultures like goths and cosplayers. Conventions like Dragon Con feature Labyrinth-themed events, with fans dressing as Jareth or Sarah. Social media, especially Tumblr and TikTok, has fueled renewed interest, with memes, fan art, and dance challenges (e.g., to “Magic Dance”). Merchandise and Adaptations Novels, comics, and graphic novels have expanded the Labyrinth universe. Boom! Studios’ comics explore Jareth’s backstory and Sarah’s later life. Merchandise includes Funko Pops, posters, and replica props like Jareth’s crystal balls. A sequel or reboot has been in development hell for years, with recent rumors of a script by Scott Derrickson (Doctor Strange). Fans are divided, fearing a remake could tarnish the original’s charm. Bowie and Connelly’s Reflections Bowie called Labyrinth one of his favorite projects, cherishing its blend of music and acting. He remained proud of Jareth’s enduring appeal. Connelly, in later interviews, expressed gratitude for the film, noting its impact on her career and fans’ devotion. Why Labyrinth Endures Labyrinth resonates because it’s a rare blend of sincerity and strangeness. Its flaws—pacing issues, dated effects—are overshadowed by its heart and ambition. Key factors in its lasting appeal include: Visual Splendor: Froud’s designs and Henson’s puppets create a tactile, immersive world unmatched by CGI-heavy modern fantasies. Bowie’s Star Power: Jareth is a cultural icon, with his tight pants, wild hair, and sultry voice inspiring countless tributes. Universal Themes: Sarah’s struggle to balance childhood and adulthood speaks to viewers of all ages. Nostalgia: As an 80s artifact, Labyrinth evokes a pre-digital era of practical effects and bold creativity. Fun Facts and Trivia Bowie juggled crystal balls in the film using contact juggling, performed by choreographer Michael Moschen, who stood behind him. The baby playing Toby, Toby Froud, is Brian Froud’s son. He later became a puppeteer and filmmaker. The ballroom scene’s costumes were inspired by Venetian masquerades and 18th-century fashion. Connelly was intimidated by Bowie but found him kind and professional. They stayed in touch until his death in 2016. The film’s Escher-inspired staircase scene pays homage to M.C. Escher’s Relativity, using clever set design to mimic impossible geometry. How to Experience Labyrinth Today Watch the Film: Available on streaming platforms like Amazon Prime, Disney+, or Blu-ray/DVD. The 4K UHD release (2016) enhances its visuals. Listen to the Soundtrack: Stream on Spotify, Apple Music, or buy vinyl reissues for that 80s vibe. Read Tie-Ins: Check out the novelization by A.C.H. Smith or Boom! Studios’ comics for deeper lore. Engage with Fandom: Join X communities or Reddit (r/Labyrinth) to share fan theories, art, and cosplay. Conclusion Labyrinth (1986) is a dazzling, flawed masterpiece that captures the magic of Jim Henson’s imagination and David Bowie’s charisma. Its soundtrack, released on June 23, 1986, remains a standout, with Bowie’s songs weaving seamlessly into the film’s fairy-tale tapestry. Jennifer Connelly’s Sarah grounds the story, making her journey through the labyrinth a timeless allegory for growing up. Despite its rocky start, Labyrinth has earned its place as a beloved cult classic, inspiring fans across generations with its whimsy, heart, and unforgettable line: “Dance, magic, dance!” If you’d like me to analyze specific scenes, characters, or fan theories, or even generate a Labyrinth-inspired image (with your confirmation), let me know! I can also search X for recent fan discussions or check web sources for updates on the sequel.

David Bowie’s Station to Station  was re-released as a 12-inch vinyl album in the UK by RCA Records (catalog number RCA LP 3013) in September 1981. The September 1981 re-release aligns with RCA’s strategy to re-promote Bowie’s back catalog as he transitioned to EMI America (finalized by 1982). This period followed Scary Monsters (1980) and included hits like Under Pressure (October 1981), prompting RCA to leverage his ongoing popularity. Paired with Young Americans (RCA LP 3009), the two re-releases in September 1981 aimed to bridge his RCA era with his 1980s EMI success. Station to Station marked Bowie’s “Thin White Duke” persona, recorded during a period of intense cocaine use and occult fascination in Los Angeles. It followed Young Americans (1975) and preceded Low (1977). Bowie described it as “a journey from one station to another,” reflecting his personal and musical evolution, blending funk, soul, and experimental elements influenced by krautrock bands like Neu!.

Billion Dollar Babies’ Battle Axe  was released as an LP album in the US by Polydor Records (catalog number PD-1-6100) in April 1977 and in the UK (catalog number 2391 273) in August 1977. The debut album was created by a band featuring former Alice Cooper members Michael Bruce, Dennis Dunaway, and Neal Smith, along with Mike Marconi and Bob Dolin. Recorded at the Record Plant in New York City and produced by Lee DeCarlo and the band, it featured twelve original tracks initially intended as a follow-up to Alice Cooper’s Muscle of Love (1973). Promoted with a Billboard ad and a sampler LP (Polydor PRO 022), it included a bio, promo picture, and “birth certificate” in some copies but gained limited traction, despite hitting Billboard’s “Hits of the Week.” Its gladiator-themed stage show, with a boxing ring setup, was performed at four live shows, starting in Flint, Michigan, on July 6, 1977. A 2001 Complete Battle Axe 3-CD set and a 2020 Cherry Red Records (HNE) re-release included demos and live recordings, though the 2001 set was controversial due to unauthorized demos and a flawed vinyl-sourced master, per Neal Smith. A 1977 Sounds review noted its energetic hard rock but critiqued its lack of Cooper’s theatrical flair.Tracklist: A1. Too Young – 3:16 A2. Shine Your Love – 3:25 A3. I Miss You – 3:28 A4. Wasn’t I the One – 4:22 A5. Love Is Rather Blind – 3:08 A6. Rock ’n’ Roll Radio – 2:58 B1. Dance with Me – 3:22 B2. Rock Me Slowly – 3:30 B3. Ego Mania – 3:05 B4. Battle Axe – 4:00 B5. (Sudden Death) – 0:45 B6. Winner – 4:30 Note: The tracklist reflects the original 1977 vinyl release (Polydor). Later reissues, like the 2001 3-CD set and 2020 Cherry Red edition, include additional demos and live tracks. I

David Bowie’s Aladdin Sane  was re-released as a remastered album in the UK by EMI Records (catalog number 7243 5 21194 2 8) on March 22, 1999. The vinyl album was reproduced with a gatefold sleeve like the original, but the lyric inner sleeve was replaced with an insert featuring pictures and lyrics.

David Essex’s All The Fun Of The Fair  was released as an LP album in the UK by CBS Records (catalog number S 69160) on September 12, 1975, debuting on the UK Albums Chart for the week of September 21–27, 1975.

Alice Cooper Group’s Mar Y Sol  was released as an album in the UK by Applebush Records (catalog number AB-003) on April 29, 2017, marking a live album by the original Alice Cooper Group. Capturing an FM radio broadcast of their performance at the Mar Y Sol Pop Festival in Puerto Rico on April 2, 1972, it was issued as a 2-LP double gatefold sleeve and single CD, featuring outtake photos from the Killer album cover. Noted in a 2017 Classic Rock retrospective for its raw proto-punk energy, the release highlighted the band's pre-School’s Out setlist with previews of upcoming material.Tracklist (2-LP/CD): A1. You Drive Me Nervous – 2:35 A2. Yeah, Yeah, Yeah – 3:15 A3. I’m Eighteen – 5:15 A4. Halo of Flies – 10:30 B1. Is It My Body? – 2:50 B2. Dead Babies – 5:20 B3. Killer – 7:00 C1. Be My Lover – 3:25 C2. Long Way to Go – 3:10 C3. Public Animal #9 – 4:05 D1. Under My Wheels – 3:00 Note: The tracklist is based on the standard 2017 2-LP/CD release (Applebush Records), reflecting the full FM broadcast performance. Tracklist Be My Lover 5:19 You Drive Me Nervous 2:28 Yeah Yeah Yeah 4:03 I'm Eighteen 5:50 Halo Of Flies 10:35 Is It My Body 7:47 Dead Babies 5:50 Killer 7:09 Long Way To Go 4:31

Slade’s Slade Alive Vol. Two  was released as an LP album in the UK by Barn Records (catalog number 2314 107) on November 27, 1978. Titled as the follow-up to the band's commercially successful album Slade Alive!, the performances on Slade Alive Vol. 2 were taken from the band's 1976 UK tour and their United States spring 1977 tour.

David Bowie’s Young Americans  was re-released as an LP album in the UK and Germany by RCA Records (catalog number PL 13002) in 1981. Title: Young Americans Artist: David Bowie Label: RCA Records Catalog Number: LP 3009 Producer: Tony Visconti and David Bowie Context: Originally a pivotal album marking Bowie’s shift from glam rock to soul, the 1981 re-release reflects RCA’s strategy to re-promote his back catalog during his transition to EMI America.

Slade’s Play It Loud  was released as an LP album in the UK by Polydor Records (catalog number 2383 026) on November 28, 1970. The album, produced by Chas Chandler, was the first to be released under the Slade name, as the band's 1969 debut Beginnings was released under the name Ambrose Slade. Following the lack of success of Beginnings, the band and their new manager Chas Chandler considered their next career move. Having not been pleased with the debut album, Chandler thought the band would benefit from writing their own material and a change of image. He decided that the band should project a skinhead image in the effort to generate interest. Both Dave Hill and Jim Lea were mortified by the revised image, the band agreed to try the idea and adopted Dr. Martens boots, braces, cropped hair and aggressive "bovver boy" posturing So Ambrose Slade changed their name to "The Slade", which was used on their single "Wild Winds Are Blowing", released on November 24, the single was failed to chart. On March 6, 1970 the band's next single, "Shape of Things to Come", was released but also failed to chart. On September 18, 1970, "Know Who You Are" was released solely in the UK, as the band's debut single on Polydor however, it too was a commercial failure as was its parent album, Play It Loud, when it was released, the band then decided to drop their skinhead image

Alice Cooper Group’s Pretties For You  was released as an LP album in the US by Straight Records (catalog number STS 1051) on June 25, 1969, marking their debut album. The album has a psychedelic style to it and the group had yet to develop the more concise hard rock sound that they would become famous for. Most of the tracks feature unusual time signatures and arrangements, jarring syncopation, expressive dynamics, sound effects, and an eclectic range of music influences. A few songs, such as "Levity Ball", show the influence of Syd Barrett-era Pink Floyd, with whom the band hung out during the British group's U.S. tour. Alice Cooper guitarist Glen Buxton stated he could listen to Barrett's guitar playing for hours on end. The artwork for this album is a painting by Edward Beardsley. It was originally hanging on the wall of the living room in Frank Zappa's house, and his wife Gail Zappa stated that it was later stolen from them. Pretties for You was a critical and commercial failure, briefly appearing on the Billboard Top 200, and none of its songs have ever been played live by Cooper since the release of the band's breakthrough album Love It to Death. The song "Reflected", Alice Cooper's first single, was later rewritten as "Elected", which features on their 1973 album Billion Dollar Babies. Titanic Overture 10 Minutes Before the Worm Sing Low, Sweet Cheerio Today Mueller Living Fields of Regret No Longer Umpire Levity Ball B.B. on Mars Apple Bush Earwigs to Eternity Changing Arranging

David Bowie’s The Man Who Sold the World  was released as an LP album in the UK by Mercury Records (catalog number 6338 041) on April 8, 1971. Initially named Metrobolist, as a nod to the 1927 film Metropolis, the title was altered at the last moment by Mercury without consulting Bowie. The album was launched with distinct cover designs in the US and the UK. In the US (November 4, 1970), the cover featured a cartoon-style illustration by Michael J. Weller depicting a cowboy in front of an asylum. The UK version, designed by Keith MacMillan, showed Bowie in a blue dress by Michael Fish. A 1972 reissue by RCA Records displayed a black-and-white image of Bowie's character Ziggy Stardust from that period; since 1990, reissues have reinstated the original UK cover art. None of the songs from the album were initially released as singles, although a promotional version of "All the Madmen" was issued in the US in 1970. Mercury released "All the Madmen" as a single, with "Janine" from Space Oddity on the B-side, but it was withdrawn. The same track was released in Eastern Europe in 1973, along with "The Width of a Circle." "Black Country Rock" was the B-side of "Holy Holy" in the UK in January 1971, just before the release of The Man Who Sold the World. The title track was the B-side for both the US single release of "Space Oddity" in 1972 and the UK release of "Life on Mars?" in 1973.

The Sweet’s Funny How Sweet Co-Co Can Be  was released as an LP album in the UK by RCA Records (catalog number SF 8238) on November 26, 1971, marking their debut album, reaching number one in Finland, the album contained two singles which were hits in the UK: "Funny Funny" (No. 13 in March 1971) and "Co-Co" (No. 2 in June “Funny, Funny" was the first single to be released from the album, Robin Carmody of Freaky Trigger described the "particularly fine" song as the strongest example of the Sweet's early bubblegumsound, before the group's music became heavier. “Co-Co” was the second single to chart in the UK, it reached No. 1 in the Flanders region of Belgium, South Africa, Switzerland & West Germany. “Co-Co” was written by Nicky Chinn and Mike Chapman in 1971. The song was also given to Jackie Lee for her album Jackie's Junior Choice.

David Bowie’s ChangesOneBowie  was released as an LP album in the UK by RCA Records (catalog number RS 1055) on May 20, 1976. The album collected songs from the 1969–1976 period, including the first LP appearance of "John, I'm Only Dancing". A "sax version" of this song, cut during the Aladdin Sane sessions in 1973, appeared on the first 1000 copies of the UK pressing (identified by the lack of the RCA logo in the upper-right corner of the cover). Later pressings of Changesonebowie featured the original version of the single that had been recorded and released in 1972. All US pressings of the LP contain this original version as well. Two of the tracks, "Ziggy Stardust" and "Suffragette City", had never been released as singles when Changesonebowie was issued, though the former had been the B-side of "The Jean Genie" in November 1972 and the latter would be released as an A-side in July 1976 to help promote the compilation. The album was followed up by a companion compilation, Changestwobowie, in 1981. A remastered edition of the original Changesonebowie compilation was released on 20 May 2016, on vinyl and CD, to mark its 40th anniversary. On 13 April 2018, Changesonebowie was released in digital/streaming formats, along with a newly remastered edition of its follow-up, Changestwobowie, on vinyl, CD and digital/streaming.[8] The cover provided the inspiration for the 2009 expanded edition of the Morrissey album Southpaw Grammar. courtesy Wikipedia

David Bowie’s Tonight  was released as an LP album in the UK by EMI America Records (catalog number DB 1) on September 24, 1984. Commercial Performance: UK: No. 1 for two weeks. US: No. 11 on Billboard 200. Certified Platinum (UK) and Gold (US). Label: EMI America Catalog Number: DB 1 (UK) Release Date: September 24, 1984 (UK); similar dates for other markets with slight variations Producers: David Bowie, Derek Bramble, and Hugh Padgham Recording Location: Le Studio, Morin-Heights, Canada; May–June 1984 Genre: Pop rock, blue-eyed soul, dance, with R&B and reggae influences Length: 35:20 (original LP) Context: The 16th studio album and a follow-up to Bowie’s commercially successful Let’s Dance (1983), recorded after the Serious Moonlight Tour, aiming to retain his new mainstream audience. Background and Recording Creative Context: Tonight came nine months after the Serious Moonlight Tour ended (December 1983), driven by EMI’s push to capitalize on Let’s Dance’s global success (over 10 million copies sold). Bowie faced pressure to deliver quickly, leading to a rushed creative process. Bowie described it as a “violent effort at a kind of Pin Ups,” referencing his 1973 covers album, though critics argue it lacked the affection of that earlier work, instead reflecting necessity due to limited original material. The album reused collaborations with Iggy Pop from Lust for Life (1977), suggesting a reliance on past ideas rather than fresh inspiration. Recording Process: Recorded at Le Studio in Morin-Heights, Canada, over five weeks (May–June 1984), a slight extension from Let’s Dance’s three-week schedule. Bowie contributed minimally, playing no instruments and offering little creative input, a continuation of his Let’s Dance approach. Hugh Padgham (suggested by Bob Clearmountain) and Derek Bramble co-produced, though tensions arose. Padgham noted Bramble’s “unnecessary retakes,” while Carlos Alomar criticized Bramble’s inexperience. Key personnel included: Carlos Alomar: Guitar, bandleader. Carmine Rojas: Bass. Omar Hakim: Drums. Tina Turner: Vocals on “Tonight,” a duet reflecting Bowie’s role in her 1984 comeback with Private Dancer. Iggy Pop: Vocals on “Dancing With the Big Boys.” The Borneo Horns: Brass section. Arif Mardin: Strings and synthesizer arrangements. Track Listing The original UK LP (DB 1) Loving the Alien (7:08) A seven-minute art-pop epic with a distant, ethereal quality, often cited as the album’s highlight. Don’t Look Down (4:11) A reggae-influenced track co-written with Iggy Pop, originally from Lust for Life. God Only Knows (3:08) A cover of the Beach Boys’ classic, heavily orchestrated and polarizing among fans. Tonight (with Tina Turner) (3:46) A reggae-tinged duet, a reworking of an Iggy Pop track, with a marimba intro. Neighborhood Threat (3:12) Another Lust for Life reuse, a punchy rock number. Blue Jean (3:11) A pop-rock hit, later expanded into the Jazzin’ for Blue Jean short film. Tumble and Twirl (with Iggy Pop) (4:58) A quirky, co-written track with a carnival-like feel. I Keep Forgettin’ (2:34) A cover of Chuck Jackson’s 1962 song, delivered in a light, crooner style. Dancing with the Big Boys (with Iggy Pop) (3:32) A chaotic, funk-driven closer with Pop’s raw energy. Initial Release Details Format: Vinyl LP (DB 1, UK)Details: 33⅓ RPM black vinyl, pressed with Direct Metal Mastering (DMM) for enhanced sound quality. UK sleeve featured artwork by Mick Haggerty, inspired by Gilbert & George, with a striking blue-toned image of Bowie. Packaging: Included a lyric inner sleeve. Labels noted “Made in EEC” and ©℗1984 David Bowie under license to EMI America. Pressing: Manufactured and distributed by EMI, printed in Holland by EMI Services Benelux B.V., Uden. Catalog Variations: US: SJ-17138 (EMI America). Canada: EL 2402271. Japan: EMS-91049 (with obi strip). Australia: EMI America EL 24 0227 1. Europe: 1C 064-24 0227 1 (Germany, pressed in Holland). Release Strategy: Launched on September 24, 1984, to capitalize on Bowie’s post-Let’s Dance momentum and the Serious Moonlight Tour’s success (96 shows, 2.6 million fans). Promoted with the lead single “Blue Jean” (released September 10, 1984), backed by “Dancing with the Big Boys,” and supported by the Grammy-winning Jazzin’ for Blue Jean film. Aimed at retaining Bowie’s new pop audience, with heavy radio and MTV exposure. Sounds, October 27, 1984 Subsequent Released Versions Cassette (EN-98, 1984): Tracks: Same as LP, reordered for tape flow. Details: Released concurrently, with a J-card insert replicating the LP sleeve. Distributed in the US and UK. CD (CDP 7 46047 2, 1984): Tracks: Identical to LP. Details: Early CD release, part of EMI’s digital catalog push. Sound quality varied due to 1980s mastering limitations. 1995 Virgin Reissue CD: Tracks: Original 9 tracks plus 3 bonus tracks: “This Is Not America” (with Pat Metheny Group, from The Falcon and The Snowman, 1985). “As the World Falls Down” (from Labyrinth, 1986). “Absolute Beginners” (from Absolute Beginners, 1986). Details: Remastered with improved sound, aimed at collectors. Printed in the USA. 1999 EMI Reissue CD: Tracks: Original 9 tracks, no bonuses. Details: 24-bit digitally remastered, focusing on audio fidelity without extras. 2018 Parlophone Remaster (Loving the Alien Box Set): Formats: CD and 180-gram vinyl. Tracks: Original 9 tracks, with remixes and B-sides on separate discs (e.g., “Don’t Look Down” remix, “Tumble and Twirl” extended). Details: Part of the Loving the Alien (1983–1988) box set, released separately in 2019. 2019 180-gram Vinyl Reissue: Tracks: Original 9 tracks. Details: Pressed by Parlophone, praised for rich dynamics and warmth on vinyl systems. Japanese sleeve noted as brighter than the original UK version. Reception Critical Response: Mixed at release. NME praised its “dizzying variety,” while Billboard highlighted “edgy dance-rock.” Retrospective reviews (e.g., The New Statesman, 2006) argue it’s underrated, with “Loving the Alien” a standout. Critics often criticized its rushed feel and heavy reliance on covers (e.g., “God Only Knows,” “I Keep Forgettin’”), with some calling it the start of Bowie’s 1980s slump. Legacy Influence:“Blue Jean” and “Loving the Alien” remain fan favorites, influencing 1980s pop. The Jazzin’ for Blue Jean film won a 1985 Grammy. The album’s reggae and R&B experiments foreshadowed later eclectic works like Black Tie White Noise (1993). Cultural Impact: Featured in media (e.g., Glee covers “Blue Jean”). The sleeve’s Gilbert & George homage is a notable 1980s design. Reissue Notes: The 2019 vinyl reissue has reignited interest, with fans noting improved sound quality over original DMM pressings, which some found compressed.

Alice Cooper Group’s Killer & Love It To Death  was released as a single LP album in Korea by Warner Bros. Records (catalog number WS 2674) on November 1972. Tracklist Side 1 "Caught in a Dream" "I'm Eighteen" "Long Way to Go" "Black Juju" Side 2 "You Drive Me Nervous" "Yeah, Yeah, Yeah" "Dead Babies" "Killer"

David Bowie’s ChangesBowie  was released as a double album in the US by Rykodisc and in the UK by EMI (catalog number CDP 79 4180 2) on March 12, 1990. It was a compilation included in Rykodisc's remastered Bowie reissue series, serving as a replacement for the discontinued RCA Records compilations Changesonebowie and Changestwobowie. Although author David Buckley described the cover artwork as "a sixth-form cut 'n' paste collage," the collection provided Bowie with his first UK chart-topping album since 1984's Tonight. According to The Guinness Book of British Hit Albums, Changesbowie was "his seventh album to enter the chart at number one. No one else had debuted at the top as frequently."

David Bowie’s David Bowie  was released as an LP album in the UK by Deram Records (catalog number SML 1007) on June 1, 1967, marking his debut album. Produced by Mike Vernon and recorded from November 1966 to March 1967 in London, the album followed a string of singles Bowie released for Pye Records that failed to chart. Vernon hired numerous studio musicians for the album's sessions; Bowie and his former Buzz bandmate Derek Fearnley composed music charts themselves using a musical guidebook. The album displays a baroque pop and music hall sound influenced by Anthony Newley and the Edwardian styles of contemporary British rock bands. The songs are primarily led by orchestral brass and woodwind instruments rather than traditional instruments in pop music at the time, although some tracks feature guitar. The lyrical content varies from lighthearted childhood innocence to drug use and totalitarianism, themes that Bowie would return to in later works. The cover artwork is a headshot of Bowie with a mod haircut wearing a high-collared jacket. Released in both mono and stereo mixes, David Bowie received positive reviews from music journalists but was a commercial failure due to a lack of promotion from Deram. Two tracks were omitted for its release in the United States in August 1967. Following its release, Bowie provided more tracks for Deram, all of which were rejected and led to his departure from the label. Retrospective reviews unfavourably compare David Bowie to Bowie's later works, but some recognise it positively on its own terms. The album was reissued in a two-disc deluxe edition in 2010, featuring both mixes and other tracks from the period. courtesy Wikipedia A 12-track version of the album was released on Deram in the US in August 1967, omitting the tracks 'We Are Hungry Men' and 'Maid of Bond Street.' 1. Uncle Arthur 2. Sell Me a Coat 3. Rubber Band 4. Love You Till Tuesday 5. There Is a Happy Land 6. We Are Hungry Men 7. When I Live My Dream 8. Little Bombardier 9. Silly Boy Blue 10. Come And Buy My Toys 11. Join the Gang 12. She's Got Medals 13. Maid of Bond Street 14. Please Mr. Gravedigger courtesy David Bowie (1967) — David Bowie

David Bowie’s Scary Monsters (and Super Creeps)  was released as an LP album in the UK by RCA Records (catalog number BOW LP 2) on September 19, 1980. Commercial Performance: UK: No. 1 for three weeks. US: No. 12 on Billboard 200. Certified Platinum (UK) and Gold (US) by 1981. Album Overview Title: Scary Monsters (and Super Creeps) Artist: David Bowie Label: RCA Records Catalog Number: BOW LP 2 (UK) Release Date: September 19, 1980 (UK); September 15, 1980 (US, with some regional variations) Producer: David Bowie with Tony Visconti Recording Locations: Power Station, New York City; Good Earth Studios, London; February–April 1980 Genre: Art rock, new wave, post-punk Length: 45:38 (original LP) Context: This was Bowie’s 14th studio album and his final release with RCA, serving as a synthesis of his Berlin Trilogy (Low, “Heroes”, Lodger) and a precursor to his 1980s pop era with Let’s Dance (1983). Background and Recording Creative Context: After the experimental Berlin Trilogy (1977–1979), co-produced with Brian Eno, Bowie aimed to reconnect with a broader audience while retaining his artistic edge. Scary Monsters revisited past personas (e.g., Major Tom, Pierrot) and embraced the emerging new wave and post-punk movements. Bowie called it a “culmination of everything I’d done up to that point,” blending introspection with commercial appeal. Recording Process: Sessions spanned February to April 1980, with initial work at Power Station in New York and overdubs at Good Earth Studios in London. Tony Visconti’s production brought a polished yet raw sound, using techniques like reversed tapes and multi-layered vocals. Key collaborators included:Robert Fripp (King Crimson): Lead guitar, delivering jagged, avant-garde riffs. Carlos Alomar: Rhythm guitar, a Bowie staple since the 1970s. Dennis Davis: Drums, providing a funky, tight beat. George Murray: Bass, anchoring the tracks. Roy Bittan (E Street Band): Keyboards, adding a rock-infused texture. Additional contributions from Pete Townshend (guitar and backing vocals on “Because You’re Young”) and Chuck Hammer (guitar synth). Innovations: The album featured experimental production, such as Michi Hirota’s Japanese narration on “It’s No Game (Part 1),” reflecting Bowie’s interest in global influences. September 20, 1980, New Musical Express Track Listing The original UK LP (BOW LP 2) It’s No Game (Part 1) (4:15)A abrasive opener with Hirota’s narration and Fripp’s aggressive guitar. Up the Hill Backwards (3:13)A paranoid, upbeat track about navigating fame. Scary Monsters (and Super Creeps) (5:10)The title track, a dark, funky exploration of inner turmoil. Ashes to Ashes (4:23)A melancholic revisit to Major Tom, with a haunting synth line and cryptic lyrics. Fashion (4:46)A satirical new wave hit about societal trends. Teenage Wildlife (6:51)A sprawling ballad critiquing imitation in music. Scream Like a Baby (3:35)A dystopian synth-pop narrative. Kingdom Come (3:42)A cover of Tom Verlaine’s song, raw and emotional. Because You’re Young (4:51)A moody rocker with Townshend’s backing vocals. It’s No Game (Part 2) (4:22)A calmer reprise with reversed narration. September 20, 1980, New Musical Express Release Details Formats: Vinyl LP (BOW LP 2, UK; BOW LP-1, US): Tracks: As listed above. Details: 33⅓ RPM black vinyl. UK pressing featured RCA’s orange label with “BOW LP 2” matrix. US version (BOW LP-1) had a different sleeve layout. Sleeve: Gatefold cover with Brian Duffy’s iconic Pierrot photo, symbolizing Bowie’s fragmented personas. Inner sleeve included lyrics and credits. Pressing: Manufactured at RCA’s Peterborough, UK plant, with European variants (e.g., Germany: PL 13647). Cassette (PK 13647, UK; PK 1-3647, US): Tracks: Same as LP, with reordered sequencing for tape flow. Details: Included a color insert mimicking the LP sleeve. 8-Track Cartridge (Limited markets): Tracks: Reordered for 8-track compatibility, rare today. Details: Primarily US market. Catalog Variations: Japan: RCA RVP-5530 (with obi strip). Australia: RCA VPL1 7175. Canada: RCA CPL1-3647. Release Strategy: RCA positioned Scary Monsters as a major release, leveraging Bowie’s Berlin success and the new wave boom (e.g., Talking Heads, The Police). Initial pressings included a limited poster, boosting early sales. Released during a competitive 1980 season, alongside albums by The Pretenders and The Police. Singles Ashes to Ashes (August 1, 1980): Catalog: RCA BOW 1 (UK 7”); BOW 12 (UK 12”). B-sides: “Move On” and “Ziggy Stardust” (live, 12”). UK No. 1, Bowie’s fastest-selling single. Fashion (October 24, 1980): Catalog: RCA BOW 2 (UK 7”); BOW 212 (UK 12”). B-sides: “Scream Like a Baby” (7”) and extended mixes (12”). UK No. 5. Scary Monsters (and Super Creeps) (January 2, 1981): Catalog: RCA BOW 3 (UK 7”). B-side: “Because You’re Young.” UK No. 20. September 20, 1980, New Musical Express Reception Critical Response: Acclaimed upon release. Rolling Stone praised its “dazzling synthesis,” while NME called it “Bowie’s most cohesive since Diamond Dogs.” Retrospective reviews (e.g., Pitchfork, 9.0/10) highlight “Ashes to Ashes” as a masterpiece. Legacy Influence: Shaped new wave and post-punk, influencing Duran Duran and The Cure. “Ashes to Ashes” inspired covers and nods (e.g., The Weeknd’s 2025 “Dawn FM” synths). The Pierrot imagery influenced 1980s fashion and videos. Reissues: 1992: Rykodisc CD with bonus tracks (“Alabama Song,” “Space Oddity” live). 2007: EMI remaster with “Crystal Japan.” 2017: Parlophone box set with demos and Blu-ray audio. Cultural Impact: Featured in Stranger Things and The Perks of Being a Wallflower. The “Ashes to Ashes” video won early MTV acclaim. Critical Examination Accuracy: Release date (September 19, 1980, UK) aligns with RCA records. US date (September 15) reflects regional rollout.

Bryan Ferry’s The Bride Stripped Bare  was released as an LP album in the UK by Polydor Records (catalog number POLS 1001) in September 1978, marking his fifth solo studio album, recorded in 1977–1978 at Montreux, Switzerland, and mixed at Atlantic Studios, New York. The title references Marcel Duchamp’s artwork The Bride Stripped Bare by Her Bachelors, Even, reflecting Ferry’s art-school roots and thematic exploration of vulnerability and loss. The album blends original songs with covers, a hallmark of Ferry’s solo work, and features a transatlantic sound, recorded with American session musicians like Waddy Wachtel (guitar), Rick Marotta (drums), and Alan Spenner (bass), alongside UK contributors like Neil Hubbard and John Wetton. Key tracks include originals like “Sign of the Times” (a UK Top 40 single addressing social unrest) and “Can’t Let Go” (inspired by Ferry’s breakup with Hall), and covers like “That’s How Strong My Love Is” (Otis Redding) and “Take Me to the River” (Al Green, later popularized by Talking Heads). Musical Style: The album shifts from the polished art rock of Ferry’s earlier solo work to a rawer, soulful, and bluesy sound, reflecting his emotional turmoil and the influence of American R&B. It’s noted for its introspective tone, contrasting Ferry’s usual debonair image. Reception: The album received mixed reviews at the time, with critics like Robert Christgau praising its “moody, energetic” covers but noting its unevenness. It reached #13 on the UK Albums Chart but only #159 in the US, reflecting Ferry’s stronger UK fanbase. Retrospectively, it’s seen as an underappreciated gem, capturing Ferry’s emotional depth. Significance: The album marked a transitional phase for Ferry, bridging his solo career and Roxy Music’s reformation in 1979 with Manifesto. Its personal themes and American recording sessions foreshadowed Ferry’s later transatlantic influences. The Bride Stripped Bare: Release Details:Label: Polydor (UK) Catalogue Number: POLD 5003 Release Date: September 1978 Format: Vinyl LP (also released on cassette; later on CD) Country: UK

David Essex’s David Essex  was released as an LP album in the UK by CBS Records (catalog number S 69088) on September 20, 1974. The album entered the UK chart on week October 13-19, 1974, at number 21 as part of a 23-week run, peaking at number 2 for a four-week run during the last 3 weeks of 1974 and the first week of 1975. Background and Context: David Essex (born David Albert Cook, July 23, 1947, in Plaistow, London) rose to fame in 1973 with his debut album Rock On, which included the UK #3 and US #5 hit single "Rock On." By 1974, Essex was a prominent figure in the UK glam rock and pop scene, bolstered by his acting roles in the films That’ll Be the Day (1973) and Stardust (1974). The David Essex album was recorded during a period of peak popularity, following his starring role as Jim MacLaine in Stardust. Produced by Jeff Wayne, who also worked on Rock On, the album aimed to capitalize on Essex’s growing fanbase and his reputation as a charismatic performer with a knack for blending pop, rock, and theatrical elements. Unlike his earlier, less successful releases on Decca and Fontana (e.g., the 1969 single "The Day The Earth Stood Still"), this album was a polished, confident effort that showcased his maturing artistry. Recording and Production: David Essex was recorded in 1974 at Advision Studios and AIR Studios in London, produced and arranged by Jeff Wayne. The album featured a talented ensemble of musicians, including Chris Spedding (guitar), Herbie Flowers (bass), Mike Garson (piano, known for work with David Bowie), and Ken Freeman (synthesizers). Backing vocals were provided by The English Chamber Choir, adding a lush, dramatic quality. The production balanced glam rock’s energy with pop accessibility, incorporating orchestral elements and Essex’s distinctive, emotive vocals. The sessions were collaborative, with Essex writing or co-writing most tracks, reflecting his growing confidence as a songwriter compared to his earlier Decca years. Track Listing: The original vinyl release of David Essex (CBS S 69088) contains ten tracks: 1. Gonna Make You a Star (3:29) 2. Window (4:03) 3. I Know (3:34) 4. There’s Something About You Baby (3:48) 5. Good Ol’ Rock & Roll (4:28) 6. America (3:20) 7. Dance Little Girl (3:34) 8. Ooh Darling (2:57) 9. Miss Sweetness (4:37) 10. Half Way to Paradise (4:05) Notable Tracks: Gonna Make You a Star, the album’s lead single, is a glam-pop anthem about fame and ambition, inspired by Essex’s own rise to stardom. America, a reflective track about the allure and challenges of the U.S., showcases his storytelling ability. Good Ol’ Rock & Roll and Half Way to Paradise (a cover of Billy Fury’s 1961 hit) nod to Essex’s rock and roll roots, while tracks like Window and I Know lean into introspective, melodic pop. Musical Style and Themes: The album blends glam rock, pop, and rock and roll influences with orchestral flourishes, reflecting the era’s theatrical pop trends. Essex’s vocals range from soulful to energetic, complementing Jeff Wayne’s lush production. Lyrically, the album explores themes of fame (Gonna Make You a Star), love (There’s Something About You Baby), and personal reflection (Window, I Know). The inclusion of rock and roll covers and original songs with a nostalgic vibe ties into Essex’s persona as a modern yet retro-inspired artist, appealing to both teen fans and older audiences familiar with his acting roles. Singles Released: 1. Gonna Make You a Star / Good Ol’ Rock & Roll Release Date: October 1974 (UK, CBS 2787) Details: The A-side, written by David Essex, is a catchy, upbeat glam-pop track with a memorable riff and lyrics about the pursuit of fame. It became Essex’s first UK #1 single, topping the UK Singles Chart for three weeks and selling over 500,000 copies, earning a silver disc. It also reached #7 in Ireland and charted in Australia. The B-side, Good Ol’ Rock & Roll, is an album track with a lively, retro rock vibe, complementing the A-side’s energy. This single was the album’s biggest hit and a key driver of its commercial success. 2. Stardust / Miss Sweetness Release Date: January 1975 (UK, CBS 2971) Details: Stardust, written by Essex, was the theme song for the film Stardust, in which he starred as Jim MacLaine. A melodic, reflective pop-rock track, it reached #7 in the UK and #6 in Ireland, capitalizing on the film’s popularity. The B-side, Miss Sweetness, is an album track with a soulful, romantic tone. While not as commercially dominant as Gonna Make You a Star, it reinforced Essex’s crossover appeal as a musician and actor. Critical Reception: David Essex received positive reviews upon release, with critics praising its catchy singles and polished production. The album was seen as a strong follow-up to Rock On, solidifying Essex’s status as a leading UK pop star. Publications like Melody Maker noted its accessibility and Essex’s charisma, though some critics found the cover songs less innovative than his originals. Retrospectively, the album is regarded as a highlight of Essex’s 1970s output, with Gonna Make You a Star often cited as a glam rock classic. Reviews on platforms like AllMusic commend its blend of pop and rock, though it’s less experimental than Rock On. Commercial Performance: The album was a major success, peaking at #2 on the UK Albums Chart and remaining in the charts for 22 weeks. It was certified gold in the UK, reflecting strong sales driven by the success of Gonna Make You a Star and Essex’s high-profile film roles. The album also charted in Australia and New Zealand, benefiting from his international appeal. Its commercial performance marked a peak in Essex’s career, establishing him as a household name alongside contemporaries like Marc Bolan and David Bowie. Legacy and Influence: David Essex is a defining work in Essex’s discography, capturing his 1970s glam-pop peak. The album’s success, particularly through Gonna Make You a Star, cemented his reputation as a versatile performer who bridged music and acting. Its tracks have been featured in compilations like The David Essex Collection (1980) and His Greatest Hits (1998). The album was released on compact disc twice. The 1993 release by Columbia (9829912) featured the original tracklisting without any additional material. The 2011 release by 7T's Records (GLAMCD 157) was a remastered version of the original tracklisting and included one bonus track: Stardust (7" Version). Additional Notes: The album’s cover features a striking portrait of Essex, emphasizing his heartthrob image, with design credits to Roslav Szaybo for CBS. Released on vinyl, cassette, and 8-track cartridge in 1974, with international pressings in Australia, Canada, and the US (Columbia KC 33241). The album’s success led to extensive touring, with Essex performing to large audiences in the UK and Europe, often accompanied by elaborate stage productions. No music videos are documented for the singles, as the format was not yet prevalent, but Essex’s TV appearances on shows like Top of the Pops boosted their visibility. Sources and Verification: Information is drawn from my knowledge of David Essex’s discography and supplemented by web sources, including Discogs, 45cat, Cherry Red Records, and AllMusic. Chart data and single details are confirmed by Wikipedia and Rate Your Music.

Alice Cooper Group’s Alice Cooper’s Greatest Hits  was released as an LP album in the US by Warner Bros. Records (catalog number W 2803) on August 9, 1974, with a UK release in September 1974., marked the only greatest hits compilation by the original Alice Cooper Group and their final release before the band’s hiatus. Featuring remixed versions of hit songs from five of their seven studio albums—excluding Pretties for You and Easy Action —the tracks were remixed by producer Jack Richardson to enhance appeal, with the remix of “I’m Eighteen” released as a single in the US. Noted in a 1974 Billboard review for its encapsulation of the band’s shock-rock legacy, the compilation peaked at No. 8 on the US Billboard 200. Expanded in 2001 by Rhino’s Mascara & Monsters: The Best of Alice Cooper, which included original single versions and post-1974 solo hits, it featured a comprehensive discography from 1969 to 2000 in its liner notes. Tracklist: A1. I’m Eighteen – 2:58 A2. Is It My Body – 2:39 A3. Desperado – 3:30 A4. Under My Wheels – 2:51 A5. Be My Lover – 3:21 A6. School’s Out – 3:29 B1. Hello Hooray – 4:15 B2. Elected – 4:05 B3. No More Mr. Nice Guy – 3:06 B4. Billion Dollar Babies – 3:43 B5. Teenage Lament ’74 – 3:54 B6. Muscle of Love – 3:45 Note: The tracklist reflects the original 1974 vinyl release (Warner Bros. Records). Artwork The album's cover art was designed by Ernie Cefalu and features a sepia-toned Drew Struzan illustration of the band members in front of a 1930s garage, accompanied by such period movie stars as Humphrey Bogart, Clark Gable, Robert Taylor, Edward G. Robinson, Jean Harlow, Peter Lorre, and Groucho Marx. The inner sleeve features a similar illustration of the band surrounded by these and other stars of Hollywood's golden age such as Marilyn Monroe, Gary Cooper, Judy Garland, Errol Flynn, Clara Bow, Boris Karloff, Zasu Pitts, Tyrone Power, Bela Lugosi, Marlene Dietrich, Tallulah Bankhead, Betty Grable, Veronica Lake and Alan Ladd. A depiction of the St. Valentine's Day Massacre is in the upper middle. The album was released by Friday Music records on vinyl in 2013 with a Gatefold cover, mimicking the 1974 Australian release of the album, which was the only territory where it was originally released with a Gatefold sleeve.

Marc Bolan’s Dance In The Midnight  was released as an LP album in the UK by Marc On Wax (catalog number MARCL 501) in September 1983, as a posthumous release. This album, the third released after Mar's passing in 1977, comprising of unreleased studio outtakes and demos from the early to mid-1970s, with some overdubs added in the 1980s by session musicians at the request of producers John and Shan Bramley. Release Details: Label and Catalog: Marc On Wax, UK (MARCL 501). Release Date: September 1983. Format: Vinyl LP (available in trifold gatefold and single-sleeve versions), later reissued on CD (e.g., 1989, Japan, 20CP-20). Content: A collection of unreleased studio outtakes and demos recorded by T. Rex in the early to mid-1970s, with some tracks featuring 1980s overdubs by session musicians. Chart Performance: Reached number 83 on the UK Albums Chart. Background: Marc Bolan, the creative force behind T. Rex, was a pioneer of glam rock, known for hits like “Get It On” and “Telegram Sam.” After his passing on September 16, 1977, at age 29, his estate and labels like Marc On Wax released posthumous albums to satisfy fan demand and preserve his legacy. Dance In The Midnight was curated by John and Shan Bramley, who ran the T. Rex Action Group and later the Marc Bolan Fan Club. The album aimed to showcase previously unheard material, but the addition of 1980s overdubs by session musicians sparked mixed reactions among fans, as it altered the original raw recordings. Many of the tracks were later released in their untouched form on the Unchained: Unreleased Recordings 1972–1977 series, offering purists a closer look at Bolan’s original work. Tracklist (1983 UK Vinyl, MARCL 501): Side 1 "Dance in the Midnight" "Every Day" "Saturday Night" "Metropolis" "Brain Police" Side 2 "Stand by Me" Written by – King/Leiber/Stoller "All My Love" "Fast Blues (Easy Action)" "Do I Love Thee" "Down Home Lady" Production and Personnel: Producers: John and Shan Bramley, with overdubs added in the 1980s by session musicians (names not fully credited). Core Personnel: Marc Bolan (vocals, guitar), with contributions from T. Rex members like Mickey Finn (percussion), Steve Currie (bass), and Bill Legend (drums) on the original recordings. The overdubs likely involved uncredited session players. Phonographic Copyright: Marc On Wax Ltd. Vinyl and Packaging: Original 1983 Pressing (MARCL 501):Available in two versions: Trifold Gatefold: Includes a 6-page gatefold sleeve and a 24-page booklet with photos, lyrics, and fan club material. Distributed by IDS. Single Sleeve: Distributed by Spartan Records, with text on the back stating “Manufactured and distributed by Spartan Records, London Road, Wembley, Middlesex.” The gatefold version is more collectible due to its elaborate packaging. Reissues: A 1989 CD release (Japan, 20CP-20) replicated the tracklist with digital clarity. Cultural Significance: Released during a wave of renewed interest in Bolan’s work (post-punk and new wave bands like The Smiths cited him as an influence), the album kept T. Rex’s legacy alive for fans and collectors. It reflects Bolan’s prolific output, showcasing demos that capture his creative process during T. Rex’s glam rock peak and later experimental phases. The involvement of the Bramleys and the Marc On Wax label underscores the fan-driven effort to preserve Bolan’s unreleased work, though the overdubs sparked debate about artistic integrity.

Rod Stewart’s Sing It Again Rod  was released as an LP album in the UK by Mercury Records (catalog number 6499 547) on August 10, 1973, as a compilation album. It serves as a retrospective of Stewart’s early solo work, primarily drawing from his first four albums released between 1969 and 1972: An Old Raincoat Won't Ever Let You Down (1969), Gasoline Alley (1970), Every Picture Tells a Story (1971), and Never a Dull Moment (1972). The album was designed to capitalize on Stewart’s rising popularity during this period, both as a solo artist and as a member of Faces, and it showcases his roots rock and pop rock sound, infused with folk and blues influences. Notable for its distinctive die-cut cover shaped like a whisky glass, reflecting Stewart’s larger-than-life persona and rock ‘n’ roll lifestyle. The sleeve was designed by Shakey Pete Corriston, with photography by Cosima Scianna, Emerson Loew, and Steve Azzara. Some editions included attached postcards or a thick paper inner sleeve. The album compiles 12 tracks, showcasing Stewart’s early solo hits and notable covers. All tracks were produced by Rod Stewart, with contributions from collaborators like Ronnie Wood and Martin Quittenton. Below is the tracklist with credits and durations: Side A: Reason to Believe (Find a Reason to Believe) (3:45) – Written by Tim Hardin You Wear It Well (4:10) – Written by Rod Stewart, Martin Quittenton Mandolin Wind (5:25) – Written by Rod Stewart Country Comfort (4:41) – Written by Elton John, Bernie Taupin Maggie May (5:12) – Written by Rod Stewart, Martin Quittenton Handbags and Gladrags (3:58) – Written by Mike d’Abo Side B: Street Fighting Man (4:59) – Written by Mick Jagger, Keith Richards Twisting the Night Away (3:07) – Written by Sam Cooke Lost Paraguayos (3:50) – Written by Rod Stewart, Ronnie Wood (I Know) I’m Losing You (5:03) – Written by Cornelius Grant, Edward Holland, Norman Whitfield Pinball Wizard (from Tommy (1914–1984)) (3:09) – Written by Pete Townshend Gasoline Alley (4:02) – Written by Rod Stewart, Ronnie Wood Sing It Again Rod captures Rod Stewart at the peak of his early career, blending raw, rootsy rock with soulful and folk-inflected ballads. The album highlights his ability to reinterpret classic songs (e.g., Tim Hardin’s “Reason to Believe,” Sam Cooke’s “Twisting the Night Away”) alongside original compositions like “Maggie May” and “You Wear It Well,” which became signature hits. “Maggie May,” in particular, was a global smash, topping charts in the UK and US in 1971, and it remains one of Stewart’s defining songs. The compilation also reflects his collaboration with key figures like Ronnie Wood (later of The Rolling Stones) and his knack for merging covers with original material to create a cohesive, heartfelt sound. The album’s roots rock and pop rock style, combined with Stewart’s gravelly vocals, resonated with audiences in the early 1970s, a period when he balanced his solo career with his work in Faces. The whisky glass-shaped sleeve and the album’s title evoke Stewart’s playful, hard-partying persona, which became a hallmark of his public image. The album reached number 1 on the UK Albums Chart, a place it held for 3 weeks, as part of an initial run of 19 weeks, the album was reissued in 1976.

T.Rex: "Electric Warrior" Album (1971), it is widely regarded as a cornerstone of the glam rock movement and one of the band’s defining works. Below is a comprehensive overview of T. Rex and a detailed look at Electric Warrior, including its context, production, tracklist, impact, and legacy, with specific reference to the September 24, 1971, UK release. T. Rex: The Band and Their Journey Formation and Early Years (1967–1970):T. Rex began as Tyrannosaurus Rex, a psychedelic folk-rock duo formed in 1967 by Marc Bolan (vocals, guitar) and Steve Peregrin Took (percussion). Their early sound was whimsical, rooted in acoustic folk with mythological and poetic themes, as heard on albums like My People Were Fair and Had Sky in Their Hair... (1968) and A Beard of Stars (1970). The duo’s early work appealed to the UK underground scene, with Bolan’s warbling vocals and intricate guitar work earning a cult following. After Took’s departure in 1969 due to creative differences, Mickey Finn joined as percussionist, and the band began transitioning toward a more electric sound. Transition to Glam Rock (1970–1971): By 1970, Bolan shortened the band’s name to T. Rex and embraced electric guitars, a tighter rock sound, and a flashier image. The single “Ride a White Swan” (October 1970) marked this shift, reaching number 2 in the UK charts. The self-titled album T. Rex (1970) bridged their folk roots with rock, setting the stage for their breakthrough. Bolan expanded the band to include bassist Steve Currie and drummer Bill Legend, with producer Tony Visconti playing a key role in shaping their sound. Peak and Glam Rock Dominance (1971–1973): T. Rex’s peak came with Electric Warrior (1971) and The Slider (1972), albums that defined glam rock with their catchy hooks, sensual lyrics, and Bolan’s androgynous charisma. Hits like “Get It On” (UK number 1) and “Telegram Sam” cemented their stardom. The band became a cultural phenomenon, with Bolan’s glittery outfits, corkscrew curls, and theatrical performances influencing artists like David Bowie and Roxy Music. They scored four UK number 1 singles between 1971 and 1972: “Hot Love,” “Get It On,” “Telegram Sam,” and “Metal Guru.” After 1973, their commercial success waned as punk emerged, but Bolan continued to innovate until his tragic death in a car accident on September 16, 1977, at age 29. Legacy: T. Rex’s influence spans glam, punk, and indie rock, with artists like The Smiths, Oasis, and Bauhaus citing them as inspirations. Their music remains iconic for its blend of raw energy, pop sensibility, and Bolan’s unique lyricism. The band’s catalog has been reissued extensively, including vinyl picture discs like the 2024 “Telegram Sam” release mentioned in your previous query, reflecting their enduring appeal. Electric Warrior (Fly UK HIFLY 6, Released September 24, 1971) Context and Creation: Electric Warrior was T. Rex’s sixth album (second as T. Rex) and their commercial breakthrough. Recorded between March and June 1971 at studios like Trident and Advision in London, it was produced by Tony Visconti, who helped refine Bolan’s vision of blending raw rock energy with pop accessibility. The album followed the success of “Ride a White Swan” and “Hot Love,” with Bolan fully embracing electric guitars and a glamorous image. It was a deliberate move to capture a wider audience, combining Chuck Berry-inspired riffs, Bo Diddley rhythms, and Bolan’s sensual, poetic lyrics. The band lineup for the album included Marc Bolan (vocals, guitar), Mickey Finn (congas, bongos), Steve Currie (bass), and Bill Legend (drums). Guest musicians included Ian McDonald (saxophone) and Rick Wakeman (keyboards on “Get It On”), with Flo & Eddie (Mark Volman and Howard Kaylan of The Turtles) providing backing vocals. Tracklist (UK Vinyl, HIFLY 6) Side A: “Mambo Sun” “Cosmic Dancer” “Jeepster” “Monolith” “Lean Woman Blues” “Bang a Gong (Get It On)” Side B: “Planet Queen” “Girl” “The Motivator” “Life’s a Gas” “Rip Off” Total Runtime: Approximately 39 minutes. Musical Style and Themes: Electric Warrior is a quintessential glam rock album, characterized by infectious guitar riffs, driving rhythms, and Bolan’s sultry, charismatic delivery. The sound blends rock ‘n’ roll, boogie, and subtle psychedelic elements, with Visconti’s production adding lush strings and polished arrangements. Lyrically, Bolan evokes a dreamlike, mythological world with cosmic and romantic imagery. Songs like “Cosmic Dancer” explore existential themes (“I danced myself right out the womb”), while “Get It On” is a swaggering anthem of desire. Standout tracks include: “Get It On” (titled “Bang a Gong (Get It On)” in the U.S.): A UK number 1 single, driven by a slinky riff and saxophone, it’s one of the defining songs of glam rock. “Jeepster”: A boogie-infused hit (UK number 2), notable for its raw energy and Bolan’s playful vocals. “Cosmic Dancer”: A reflective, string-laden ballad that showcases Bolan’s poetic depth. “Life’s a Gas”: A wistful acoustic track that hints at Bolan’s folk roots. Release and Reception: Released on September 24, 1971, by Fly Records in the UK (HIFLY 6) and Reprise Records in the U.S., Electric Warrior was a massive success. It reached number 1 on the UK Albums Chart for six weeks and peaked at number 32 in the U.S. Billboard 200. The album was praised for its infectious energy and Bolan’s star power. Critics lauded its simplicity and charm, with Rolling Stone later calling it “the album that essentially kick-started the UK glam rock craze.” The singles “Get It On” (July 1971) and “Jeepster” (November 1971) were major hits, with “Get It On” also reaching number 10 in the U.S., T. Rex’s only significant stateside chart success. Vinyl Details: The original UK pressing (HIFLY 6) was a 12-inch vinyl LP with a gatefold sleeve featuring a striking photo of Bolan bathed in a golden glow, amplifying his rock-star mystique. The vinyl was standard weight for the era, and original copies are now collector’s items, often valued at £50–£200 depending on condition. The album’s artwork and sound quality were tailored for the vinyl format, with Visconti’s production emphasizing warm, analog textures. Cultural Impact and Legacy: Electric Warrior is considered a landmark album, not only for T. Rex but for rock music broadly. It crystallized glam rock’s aesthetic—glitter, androgyny, and theatricality—paving the way for artists like David Bowie, Roxy Music, and later punk and new wave acts. The album’s influence extends to modern indie and alternative bands, with covers of its songs by artists like The Power Station (“Get It On,” 1985) and Blondie (“Cosmic Dancer”). It has been reissued multiple times, including deluxe vinyl and CD editions with outtakes and demos. Critical Acclaim: In 1971, reviews in NME and Melody Maker hailed Bolan as a rock poet, with Electric Warrior praised for its accessibility and swagger. Modern retrospectives rank it among the greatest albums of all time, with Rolling Stone placing it at number 160 on its 2020 “500 Greatest Albums” list. The album’s blend of raw rock and polished pop continues to resonate, with “Get It On” and “Jeepster” remaining radio staples.

Alice Cooper’s Dirty Diamonds  was released as an album in the UK by New West Records (catalog number NW6102) on July 4, 2005, marking his twenty-fourth solo studio album.Produced by Steve Lindsey, it followed a U.S. release on August 2, 2005 (catalog number NW6102), and peaked at No. 17 on Billboard’s Top Independent Albums chart and No. 169 on the Billboard 200—Cooper’s highest-charting album since The Last Temptation eleven years earlier. Reviewed in an August 2005 Classic Rock feature, the album was commended for its polished hard rock riffs and cinematic flair. Tracklist: A1. Thunder on the Mountain A2. Black Juju A3. You Gotta Dance A4. Dirty Diamonds B1. Don’t Know What You Got (Till It’s Gone) B2. Perfect B3. Steal That Car C1. Call It Evil C2. The Plot Sickens C3. Sunset Strip D1. Nasty Little Pasty D2. Prologue – Welcome to the Show D3. It’s All Coming Back to Me Now Note: The tracklist is based on the standard CD and 2019 vinyl reissue editions (New West Records). Some versions may vary slightly in sequencing or bonuses. Woman of Mass Distraction Perfect You Make Me Wanna Dirty Diamonds The Saga of Jesse Jane Sunset Babies (All Got Rabies) Pretty Ballerina Run Down the Devi Steal That Car Six Hours Your Own Worst Enemy Zombie Dance Stand The Sharpest Pain

Alice Cooper Group’s School’s Out  was released as an LP album in the US by Warner Bros. Records (catalog number BS 2623) on June 13, 1972, marking their fifth studio album, with a UK release in July 1972. Produced by Bob Ezrin, it entered the UK Albums Chart at No. 10 on July 16, 1972, peaking at No. 4 on September 3, 1972, during a 20-week run. In the US, it reached No. 2 on the Billboard 200, while hitting No. 1 on Canada’s RPM 100 Top Albums Chart for four weeks. The title single, School’s Out, reached No. 7 on the US Billboard Hot 100, No. 3 on Canada’s RPM Top Singles Chart, and No. 1 on the UK Singles Chart. Noted in a 1972 Rolling Stone review for its rebellious anthem and theatrical flair, the album, with tracks like Gutter Cat vs. The Jets and Alma Mater, solidified the band’s shock-rock legacy. Tracklist: A1. School’s Out – 3:26 A2. Luney Tune – 3:39 A3. Gutter Cat vs. The Jets – 4:39 A4. Street Fight – 0:55 A5. Blue Turk – 5:29 B1. My Stars – 5:46 B2. Public Animal #9 – 3:53 B3. Alma Mater – 4:27 B4. Grande Finale – 4:36 Note: The tracklist reflects the standard 1972 vinyl release (Warner Bros. Records) The original album cover (designed by Craig Braun) had the sleeve opening in the manner of a wooden school desk, similar to Thinks: School Stinks, by Hotlegs, released two years earlier. The vinyl record inside was wrapped in a pair of panties, though this was later discontinued as the paper panties were found to be flammable. The actual desk is on display in the Hard Rock Cafe in Las Vegas. UK LP reissue as original sleeve(no panties) Warner Bros. Records – K 56007 A1 School's Out 3:26 A2 Luney Tune 3:36 A3 Gutter Cat Vs. The Jets 4:39 A4 Street Fight 0:55 A5 Blue Turk 5:29 B1 My Stars 5:46 B2 Public Animal No.9 3:53 B3 Alma Mater 3:39 B4 Grande Finale 4:36 Produced For – Alive Productions (2) Produced For – Nimbus 9 Productions Published By – Copyright Control Distributed By – WEA Records Ltd. Recorded At – Record Plant, N.Y.C. Recorded At – Alice Cooper Mansion Remixed At – Record Plant, N.Y.C. Remixed At – Alice Cooper Mansion Printed By – CMCS Print & Colour Ltd. Mastered At – Gedmal Galvanic Ltd. Pressed By – RCA Records Pressing Plant, Washington, UK Design Concept [Jacket] – Sound Packaging Corp. Design [Album] – Wilkes & Braun Inc. Engineer [Recording] – Roy Cicala, Shelly Yakus Guitar – Reggie Vincent Mastered By [Vinyl] – Rasin Photography By [Alice] – Roger Prigent Photography By [Desk] – Robert Otter Plated By – Eddy Gorecki Producer – Bob Ezrin Technician [Recording Technician] – Danny Turbeville, Dennis Ferrante, Frank Hubach Mexico LP 1981 reissue (standard slip in sleeve) Se Acabó La Escuela Warner Bros. Records – LWB-5095 Track list A1 School's Out (Se Acabó La Escuela) 3:26 A2 Luney Tune (Canción Para Caricaturas) 3:26 A3 Gutter Cat Vs. The Jets (Gato Callejero Contra Los Jets) 4:39 A4 Street Fight (Pleito Callejero) 0:55 A5 Blue Turk (El Turco Azul) 5:29 B1 My Stars (Mis Estrellas) 5:46 B2 Public Animal No. 9 (Animal Publico No. 9) 3:53 B3 Alma Mater 3:39 B4 Grande Finale (Gran Final) 4:36 USA, Canada & Europe 2023 Deluxe Edition, 50th Anniversary Edition Warner Records – R1 681029, Rhino Records (2) – R1 681029 Format: 3x Vinyl LP Remastered Released: Jun 9, 2023 Tracklist Original Album Remastered A1 School's Out 3:30 A2 Luney Tune 3:40 A3 Gutter Cat Vs. The Jets 4:39 A4 Street Fight 0:53 A5 Blue Turk 5:31 B1 My Stars 5:49 B2 Public Animal 9 3:52 B3 Alma Mater 4:25 B4 Grande Finale 4:26 Live in Miami, FL May 27, 1972 (Previously Unissued) C1 Be My Lover 5:32 C2 You Drive Me Nervous 2:22 C3 Yeah, Yeah, Yeah 4:02 C4 I'm Eighteen 5:52 D1 Halo Of Flies 10:12 D2 Dead Babies 6:17 D3 Killer 7:38 E1 Long Way To Go 5:16 E2 School's Out 8:28 E3 Is It My Body 8:02 Studio Extras F1 School's Out (Single Version) 3:32 F2 Gutter Cat (Single Version) 3:49 F3 Alma Mater (Alternate Version) 4:10 F4 Elected (Early Take) (Previously Unissued) 4:18 Lacquer Cut By – Chris Bellman 50th Anniversary Deluxe Edition Book style gatefold packaging Plain black inner sleeves Pays Homage to the Original Packaging, including the legendary Panties! (Non-Flammable this time) Some copies sold online and in independent record shops came with an autographed 12"X12" art card signed by Alice Cooper, Dennis Dunaway, Michael Bruce, and Neal Smith. Art card came packaged loose on the outside of the album, not sealed within or under the shrink film.

Alice Cooper’s Raise Your Fist and Yell  was released as an album in the US by MCA Records (catalog number MCA-42091) on September 28, 1987, marking his seventeenth solo studio album, with a UK release in October 1987. Following his 1986 comeback with Constrictor, which featured hits like “He’s Back (The Man Behind the Mask),” the album continued Cooper’s embrace of polished glam metal, capitalizing on the 1980s hair metal trend. Produced by Michael Wagener, it leaned into his theatrical shock rock roots with horror-inspired themes and aggressive riffs, building on the momentum of “The Nightmare Returns” tour. Reviewed in a 1987 Kerrang! feature, it was praised for its defiant energy and anthemic intensity. Tracklist: A1. Freedom – 4:09 A2. Lock Me Up – 3:24 A3. Give the Radio Back – 3:34 A4. Step on You – 3:39 A5. Not That Kind of Love – 3:15 B1. Prince of Darkness – 5:10 B2. Time to Kill – 3:38 B3. Chop, Chop, Chop – 3:06 B4. Gail – 2:30 B5. Roses on White Lace – 4:27 Note: The tracklist is based on the vinyl and CD release (MCA Records). Background and Context: Following his successful 1986 comeback with Constrictor, which reintroduced Alice Cooper to the glam metal scene with hits like "He’s Back (The Man Behind the Mask)," Cooper was revitalized after overcoming personal struggles with alcoholism. Raise Your Fist and Yell continued the polished, heavy metal sound of Constrictor, capitalizing on the 1980s hair metal trend dominated by bands like Mötley Crüe and Poison. The album leaned heavily into Cooper’s theatrical shock rock roots, emphasizing horror-inspired themes and aggressive guitar riffs. It was his second album for MCA Records and built on the momentum of his “The Nightmare Returns” tour, which showcased elaborate stage theatrics like guillotines and snakes. The album’s title reflects its defiant, anthemic energy, aligning with Cooper’s reinvigorated persona as a metal icon. Recording and Production: Raise Your Fist and Yell was recorded in early 1987 at studios including Power Station in New York and Amigo Studios in North Hollywood, California. It was produced by Michael Wagener, known for his work with Metallica, Skid Row, and Ozzy Osbourne, who gave the album a heavier, more aggressive sound than Constrictor. The band featured Kane Roberts (guitar, co-writer), Kip Winger (bass, later of Winger), Paul Horowitz (keyboards), and Ken Mary (drums), with additional backing vocals by Kip Winger and others. Cooper co-wrote most tracks with Roberts, focusing on tight, riff-heavy compositions. The recording process was efficient, reflecting Cooper’s sobriety and focus, with Wagener’s production emphasizing a raw, powerful metal edge suited for the late 1980s rock audience. Track Listing: The original LP release of Raise Your Fist and Yell (MCA-42091) contains ten tracks: 1. Freedom (4:09) 2. Lock Me Up (3:24) 3. Give the Radio Back (3:34) 4. Step on You (3:39) 5. Not That Kind of Love (3:15) 6. Prince of Darkness (5:10) 7. Time to Kill (3:43) 8. Chop, Chop, Chop (3:06) 9. Gail (2:30) 10. Roses on White Lace (4:27) Notable Tracks: Freedom, the lead single, is a rousing glam metal anthem with a rebellious message, showcasing Cooper’s snarling vocals and Kane Roberts’ shredding guitar. Prince of Darkness, tied to the 1987 horror film of the same name, is a dark, theatrical track with horror imagery. Chop, Chop, Chop and Roses on White Lace lean into Cooper’s slasher-inspired aesthetic, with gruesome lyrics and heavy riffs. Gail, a haunting instrumental with minimal vocals, serves as a tribute to a mysterious figure, possibly a nod to Cooper’s past. Musical Style and Themes: Raise Your Fist and Yell is a glam metal and hard rock album with a heavier, more aggressive sound than Constrictor, featuring blistering guitar solos, pounding drums, and Cooper’s theatrical vocals. The production is polished yet raw, balancing radio-friendly hooks with a darker edge. Lyrically, the album explores themes of rebellion (Freedom, Give the Radio Back), horror and violence (Chop, Chop, Chop, Roses on White Lace), and dark romance (Not That Kind of Love). The horror elements, inspired by slasher films, align with Cooper’s shock rock legacy, while the anthemic tone appeals to the 1980s metal audience. The album’s intensity reflects Cooper’s renewed energy and commitment to his theatrical persona. US label MCA Records – MCA-53212, Vinyl 7", 45 RPM single, released in 1987. Singles Released: Freedom / Time to Kill - Release Date: October 1987 (UK, MCA MCA-1190; US, MCA-53179) - Details: Written by Alice Cooper and Kane Roberts, Freedom is a high-energy glam metal anthem with lyrics promoting defiance: “Freedom, we’re gonna scream it loud.” It reached #50 on the UK Singles Chart and #17 on the US Billboard Mainstream Rock Tracks chart, a modest success. The music video, featuring Cooper in his signature makeup with a horror-themed stage setup, was played on MTV. The B-side, Time to Kill, is an album track with a fast-paced, aggressive sound. This was the primary single, driving the album’s promotion. Critical Reception: Raise Your Fist and Yell received mixed reviews upon release. Critics praised its heavy, energetic sound and Cooper’s return to horror-themed theatrics, with Kerrang! lauding its “brutal riffs and shock rock edge.” However, some felt it was formulaic compared to Constrictor or Cooper’s 1970s classics, with Rolling Stone noting it as “competent but not groundbreaking.” Retrospectively, the album is seen as a strong entry in Cooper’s 1980s catalog, with AllMusic rating it 3.5/5 stars, calling it “a fierce, underrated gem.” Fans on Discogs and Rate Your Music appreciate its intensity, with ratings averaging 3.7/5. Tracks like Freedom and Roses on White Lace are often cited as highlights for their metal energy and theatricality. MCA Records – MCA 1241, Vinyl, 7", Single, 45 RPM, UK, 1988. Commercial Performance: Raise Your Fist and Yell reached #73 on the US Billboard 200 and #48 on the UK Albums Chart, an improvement over Constrictor (#59 US) but not a major commercial hit. The album’s modest chart performance was supported by the Freedom single and Cooper’s high-profile “The Nightmare Returns” tour, which featured elaborate stage props like a guillotine and a gallows, drawing large crowds. The album sold steadily to Cooper’s loyal fanbase but did not achieve gold or platinum status. Its tie-in with the Prince of Darkness film added niche appeal among horror fans, though limited promotion and the lack of a blockbuster single hindered broader success. Legacy and Influence: Raise Your Fist and Yell solidified Alice Cooper’s 1980s comeback, bridging his early shock rock legacy with the glam metal era. It influenced later horror-metal acts and reinforced Cooper’s status as a theatrical pioneer. Tracks like Freedom remain in his live setlists, and the album is included on compilations like The Beast of Alice Cooper (1989). The 2018 vinyl reissue by MCA and digital availability on platforms like Spotify have kept it accessible. The album’s horror themes and connection to the Prince of Darkness film (where Cooper made a cameo) add to its cult status. Its aggressive sound paved the way for Cooper’s even bigger success with Trash (1989). The album’s cover, featuring a clenched fist and Cooper’s menacing image, remains iconic among fans. Vinyl, 12", 45 RPM, Limited Edition, Maxi Single UK 1988 MCA Records – MCAX 1241 Additional Notes: - The album’s artwork, designed by Air Studio, features a raised fist against a dark background, reflecting the album’s defiant tone. - Released on vinyl, cassette, and CD in 1987, with international pressings in the UK, Canada, and Japan (MCA 32XD-791). - The tour supporting the album was a major success, with Cooper’s theatrical performances earning critical acclaim and boosting his fanbase. - No additional singles beyond Freedom and the promotional Prince of Darkness were released, as MCA focused on touring and film tie-ins for promotion. Sources and Verification: Information is drawn from my knowledge of Alice Cooper’s discography and supplemented by web sources, including Discogs, AllMusic, Rate Your Music, Wikipedia, and 45cat. Release details are confirmed by MCA Records archives and fan sites. The release date is verified by Discogs listings. If you need further details (e.g., vinyl condition, tour specifics, film tie-in details, or fan reactions on X), I can search or elaborate. Let me know if you want more on Raise Your Fist and Yell, Alice Cooper’s 1980s era, or related albums like Constrictor or DaDa!

Alice Cooper’s The Eyes of Alice Cooper  was released as an album in the US by Spitfire Records (catalog number SPT-15080-2) on September 23, 2003, marking his twenty-third solo studio album, with a UK release in October 2003. Produced by Alice Cooper and Mudrock, it signaled a return to his hard rock roots, reminiscent of The Last Temptation , moving away from the industrial metal sound of his prior two albums. Noted in a 2003 Billboard review for its raw energy, the album’s cover art featured four variants with Cooper’s eyes and the title’s crescent in blue, green, purple, or red. Tracklist: A1. What Do You Want from Me? A2. Between High School & Old School A3. Man of the Year A4. Novocaine B1. Bye Bye, Baby B2. Be with You Awhile B3. Detroit City C1. Spirits Rebellious C2. This House Is Haunted C3. Love Should Never Feel Like This D1. The Song That Didn’t Rhyme D2. I’m So Angry D3. Backyard Brawl Note: The tracklist is based on the standard CD release and the 2003 vinyl pressing (Spitfire Records) What Do You Want from Me? Between High School & Old School Man of the Year Novocaine Bye Bye, Baby Be with You Awhile Detroit City Spirits Rebellious This House Is Haunted Love Should Never Feel Like This The Song That Didn't Rhyme I'm So Angry Backyard Brawl

Alice Cooper’s Constrictor  was released as an album in the US by MCA Records (catalog number MCA-5761) on September 22, 1986, marking his ninth solo studio album, with a UK release in October 1986. Produced by Beau Hill, it reached No. 59 on the US Billboard 200 and No. 41 on the UK Albums Chart, signaling a strong comeback after his early 1980s albums like DaDa failed to chart. Bolstered by the single He’s Back (The Man Behind the Mask) and “The Nightmare Returns” tour’s elaborate theatrics, including guillotines and snakes, it was praised in a 1986 Kerrang! review for its slick glam-metal revival. Tracklist: A1. Teenage Frankenstein – 3:40 A2. Give It Up – 4:13 A3. Thrill My Gorilla – 2:56 A4. Life and Death of the Party – 3:45 A5. Simple Disobedience – 3:30 B1. The World Needs Guts – 3:59 B2. Trick Bag – 4:18 B3. Crawlin’ – 3:22 B4. The Great American Success Story – 3:38 B5. He’s Back (The Man Behind the Mask) – 3:50 Note: The tracklist is based on the standard 1986 vinyl and CD release (MCA Records). The album sold steadily, though it did not achieve gold or platinum status. Its chart performance was strongest in the UK, where Cooper’s fanbase remained loyal. The lack of additional hit singles limited its broader commercial impact. Background and Context: By 1986, Alice Cooper was staging a significant comeback after a difficult period in the early 1980s marked by alcoholism and commercially unsuccessful albums like Flush the Fashion (1980), Special Forces (1981), Zipper Catches Skin (1982), and DaDa (1983). After a three-year hiatus from recording, during which he sought treatment for addiction and focused on personal recovery, Cooper returned with Constrictor, his first album for MCA Records after leaving Warner Bros. The album embraced the glam metal and hair metal trends of the mid-1980s, aligning Cooper with bands like Mötley Crüe and Bon Jovi while retaining his theatrical shock rock roots. Constrictor marked a new chapter, introducing guitarist Kane Roberts and revitalizing Cooper’s career with a polished, radio-friendly sound and a renewed focus on horror-themed theatrics. UK Vinyl LP Album, Picture Disc Label: MCA Records – MCFP 3341 Released September 22, 1986. Recording and Production: Constrictor was recorded in 1986 at various studios, including Amigo Studios in North Hollywood, California, produced by Beau Hill (known for work with Ratt and Winger) with co-production by Michael Wagener on two tracks. The band featured Kane Roberts (guitar), Kip Winger (bass, later of Winger), David Rosenberg (drums), and Donnie Kisselbach (bass on some tracks), with additional contributions from Paul Delph (keyboards). Cooper co-wrote most tracks with Roberts, emphasizing heavy guitar riffs and anthemic hooks. The recording process was focused and professional, reflecting Cooper’s sobriety and determination to reclaim his place in the rock scene. The album’s production was slick, tailored for MTV and radio, with a modern sound that contrasted with the new wave experiments of his early 1980s work. Track Listing: The original LP release of Constrictor (MCA-5761) contains ten tracks: 1. Teenage Frankenstein (3:40) 2. Give It Up (4:13) 3. Thrill My Gorilla (2:56) 4. Life and Death of the Party (3:45) 5. Simple Disobedience (3:30) 6. The World Needs Guts (3:59) 7. Trick Bag (4:18) 8. Crawlin’ (3:22) 9. The Great American Success Story (3:38) 10. He’s Back (The Man Behind the Mask) (3:50) Notable Tracks: Teenage Frankenstein, the opening track, is a heavy glam metal anthem with horror-inspired lyrics, setting the album’s tone. He’s Back (The Man Behind the Mask), the lead single, was written for the film Friday the 13th Part VI: Jason Lives, blending catchy hooks with a creepy vibe. The World Needs Guts and Simple Disobedience are rebellious rockers, emphasizing Cooper’s defiant persona. The Great American Success Story explores ambition with a satirical edge. UK Vinyl LP Album, Picture Disc Label: MCA Records – MCFP 3341 Released September 22, 1986. Musical Style and Themes: Constrictor is a glam metal and hard rock album, featuring crunchy guitar riffs, big choruses, and a polished production suited to the 1980s hair metal era. It incorporates Cooper’s theatrical shock rock elements, with lyrics blending horror, rebellion, and humor. Tracks like Teenage Frankenstein and He’s Back draw on monster and slasher themes, while Simple Disobedience and The World Needs Guts promote a rebellious, anti-establishment attitude. The album balances Cooper’s classic theatricality with a contemporary sound, appealing to both longtime fans and the MTV generation. The lyrics reflect Cooper’s knack for storytelling, with a mix of dark humor and social commentary. Critical Reception: Constrictor received generally positive reviews for its energetic return to form, with critics praising Cooper’s reinvention as a glam metal artist. Rolling Stone called it a “welcome comeback,” noting its “punchy riffs and theatrical flair.” Kerrang! lauded its heavy sound and horror elements, appealing to the metal audience. Some critics, however, found it formulaic compared to Cooper’s 1970s classics, with AllMusic later rating it 3.5/5 stars, describing it as “a solid, if unspectacular, return.” Fans on Discogs and Rate Your Music appreciate its nostalgic appeal, with ratings averaging 3.6/5. The album’s success lay in reintroducing Cooper to a younger audience, though some longtime fans missed the raw edge of his earlier work. Singles Released: 1. He’s Back (The Man Behind the Mask) / Trick Bag - Release Date: August 1986 (UK, MCA MCA-1098; US, MCA-52903) - Details: Written by Alice Cooper, Kane Roberts, and Tom Kelly, this track was the theme for Friday the 13th Part VI: Jason Lives. A catchy glam metal song with synth accents and horror-themed lyrics, it reached #61 on the UK Singles Chart and #22 on the US Billboard Mainstream Rock Tracks chart. The music video, featuring clips from the film and Cooper performing with his band, was a staple on MTV, boosting its visibility. The B-side, Trick Bag, is an album track with a heavy, riff-driven sound. This single was the album’s primary promotional vehicle and Cooper’s strongest chart performance since 1980. 2. Teenage Frankenstein / Thrill My Gorilla - Release Date: 1986 (US, MCA-52945; limited international release) - Details: Written by Alice Cooper and Kane Roberts, this track is a high-energy glam metal anthem with horror-inspired lyrics. It was released as a promotional single in the US but did not chart significantly, primarily used for radio and club play. The B-side, Thrill My Gorilla, is a playful, uptempo album track with a quirky, animalistic theme. No music video was produced, limiting its impact compared to He’s Back. Legacy and Influence: Constrictor marked Alice Cooper’s successful return to the music scene, reestablishing him as a relevant figure in 1980s rock. It paved the way for his even bigger comeback with Trash (1989), which included the hit "Poison." Tracks like He’s Back and Teenage Frankenstein remain fan favorites, often performed live, and are included on compilations like The Definitive Alice Cooper (2001). The album’s glam metal sound influenced later shock rock and metal acts, while its horror themes reinforced Cooper’s legacy as a theatrical pioneer. The 2017 vinyl reissue by MCA and digital availability on platforms like Spotify have kept it accessible. The album’s connection to Friday the 13th Part VI added pop culture relevance, with He’s Back becoming a cult classic among horror fans. Additional Notes: - The album’s cover, designed by Claudio Bergamin, features Cooper with a boa constrictor around his neck, emphasizing the horror and shock rock aesthetic. - Released on vinyl, cassette, and CD in 1986, with international pressings in the UK, Canada, and Japan (MCA 25P2-2138). - The “The Nightmare Returns” tour was a major success, with Cooper’s performances drawing large crowds and reintroducing his theatrical stage show to a new generation. - No additional singles beyond He’s Back and Teenage Frankenstein were released, as MCA focused on promoting the album through touring and the film tie-in. US Label: MCA Records – MCAD-5761 CD Album 1986 Sources and Verification: Information is drawn from my knowledge of Alice Cooper’s discography and supplemented by web sources, including Discogs, AllMusic, Rate Your Music, Wikipedia, and 45cat. Release details are confirmed by MCA Records archives and fan sites. The release date is verified by Discogs listings. If you need further details (e.g., vinyl condition, tour specifics, or fan reactions on X), I can search or elaborate. Let me know if you want more on Constrictor, Alice Cooper’s 1980s comeback, or related albums like DaDa or Trash!

Alice Cooper’s Dragontown was released as an album in the US by Spitfire Records (catalog number SPT-15020-2) on September 18, 2001, marking his twenty-second solo studio album, co-produced by Alice Cooper and Bob Marlette with a heavier metal style following Brutal Planet, praised in an October 2001 Kerrang! review for its dark, industrial tones and deep thematic exploration, with a UK release in October 2001. Tracklist: A1. Triggerman A2. Deeper A3. Dragontown B1. Sex, Death and Money B2. Fantasy Man B3. Somewhere in the Jungle C1. Disgraceland C2. Sister Sara C3. Every Woman Has a Name D1. I Just Wanna Be God D2. It’s Much Too Late D3. The Sentinel

Alice Cooper’s Road  was released as a 2-LP red with black marble vinyl set accompanied by a DVD in Europe by earMUSIC (catalog number 0218924EMU) on August 25, 2023, marking his twenty-second solo studio album, praised in a September 2023 Metal Hammer  review for its raw energy and classic shock-rock flair, with a UK release in September 2023. A1 I'm Alice A2 Welcome To The Show A3 All Over The World B1 Dead Don't Dance B2 Go Away B3 White Line Frankenstein C1 Big Boots C2 Rules Of The Road C3 The Big Goodbye D1 Road Rats Forever D2 Baby Please Don't Go D3 100 More Miles D4 Magic Bus DVD-1 Feed My Frankenstein DVD-2 No More Mr. Nice Guy DVD-3 Bed Of Nails DVD-4 Hey Stoopid DVD-5 Fallen In Love DVD-6 Go Man Go DVD-7 Guitar Solo By Nita Strauss DVD-8 Roses On White Lace DVD-9 I'm Eighteen DVD-10 Poison DVD-11 Billion Dollar Babies DVD-12 The Black Widow Jam DVD-13 Steven DVD-14 Dead Babies DVD-15 I Love The Dead DVD-16 Escape DVD-17 School's Out

Alice Cooper’s Zipper Catches Skin was released as an LP album in the US by Warner Bros. Records (catalog number 9 23719-1) on August 25, 1982, with a UK release in September 1982. Showcasing a dry, energetic hard rock style with pop-punk and post-punk influences, it moved away from heavy riffs, continuing the direction of Special Forces with slicker production. Produced by Alice Cooper and Erik Scott, its lyrics leaned into comical sarcasm, as noted by bassist Erik Scott, who described it as “lean, stripped down, and low on frills. Punkish and bratty.” A 1982 Kerrang! review highlighted its raw, rebellious charm, though the album did not chart. Tracklist: A1. Zorro’s Ascent – 3:56 A2. Make That Money (Scrooge’s Song) – 3:30 A3. I Am the Future – 3:29 A4. No Baloney Homosapiens – 5:06 B1. Adaptable (Anything for You) – 2:56 B2. I Like Girls – 2:25 B3. Remarkably Insincere – 2:07 B4. Tag, You’re It – 2:54 B5. I Better Be Good – 3:50 B6. I’m Alive (That Was the Day My Dead Pet Came Back to Save My Life) – 5:15 Note: The tracklist is based on the standard 1982 vinyl release (Warner Bros. Records).

Alice Cooper’s Welcome 2 My Nightmare  was released as an album in the US by UMG Recordings (catalog number B0015908-02) on September 13, 2011, with a UK release in October 2011. This marked his twenty-sixth studio album. Produced by Bob Ezrin, it peaked at No. 22 on the Billboard 200, Cooper’s highest-charting US album since 1989’s Trash. Conceived as a sequel to 1975’s Welcome to My Nightmare during discussions with Ezrin, the album features returning Alice Cooper band members and was praised in a 2011 Rolling Stone review for its theatrical horror-rock intensity. Completed in early 2011, it was initially slated for a later release but launched on schedule despite Cooper’s touring commitments. Tracklist: A1. I Am Made of You A2. Caffeine A3. The Nightmare Returns A4. A Runaway Train B1. Last Man on Earth B2. The Congregation B3. I’ll Bite Your Face Off B4. Disco Bloodbath Boogie Fever C1. Ghouls Gone Wild C2. Something to Remember Me By C3. When Hell Comes Home D1. What Baby Wants D2. I Gotta Get Outta Here D3. The Underture Note: The tracklist is based on the standard 2-LP vinyl edition (UMG, 2011). Some editions include bonus tracks like “Under the Bed” or “Poison” (live). I Am Made Of You 5:32 Caffeine 3:25 The Nightmare Returns 1:16 A Runaway Train 3:51 Last Man On Earth 3:47 The Congregation 3:59 I'll Bite Your Face Off 4:26 Disco Bloodbath Boogie Fever 3:36 Ghouls Gone Wild 2:34 Something To Remember Me By 3:17 When Hell Comes Home 4:31 What Baby Wants 3:44 I Gotta Get Outta Here 4:20 The Underture 4:39

Alice Cooper’s Hey Stoopid  was released as an album in the US by Epic Records (catalog number EK 46786) on July 1, 1991, with a UK release in August 1991. This marked his nineteenth solo studio album. Produced by Peter Collins, it followed the commercial success of 1989’s Trash and featured guest performers including Slash, Ozzy Osbourne, Vinnie Moore, Joe Satriani, Steve Vai, Nikki Sixx, and Mick Mars of Mötley Crüe. Noted in a 1991 Rolling Stone review for its polished glam-metal sound, it was Cooper’s last album with bassist Hugh McDonald before he joined Bon Jovi in 1994. An alternate cover with “hardcore” imagery, including hypodermic needles and pills, was considered but not used, per Cooper’s assistant Brian Renfield. The track “Feed My Frankenstein,” with Steve Vai, Joe Satriani, and Nikki Sixx, appeared in the 1992 film Wayne’s World and its soundtrack, while “Dangerous Tonight” was featured in the 2014 video game Watch Dogs. Tracklist: A1. Hey Stoopid – 4:34 A2. Love’s a Loaded Gun – 4:11 A3. Snakebite – 4:33 A4. Burning Our Bed – 4:34 B1. Dangerous Tonight – 4:41 B2. Might as Well Be on Mars – 7:27 B3. Feed My Frankenstein – 4:44 C1. Hurricane Years – 3:58 C2. Little by Little – 4:35 C3. Die for You – 4:16 D1. Dirty Dreams – 3:29 D2. Wind-Up Toy – 5:27 Note: The tracklist is based on the standard 1991 CD and vinyl release (Epic Records). Some editions may include bonus tracks or alternate sequencing. Hey Stoopid Love's a Loaded Gun Snakebite Burning Our Bed Dangerous Tonight Might as Well Be on Mars Feed My Frankenstein Hurricane Years Little by Little Die for You Dirty Dreams Wind-Up Toy About the album

Alice Cooper’s Alice Cooper Goes to Hell  was released as an LP album in the US by Warner Bros. Records (catalog number BS 2896) in June 1976, marking his second solo studio album, with a UK release in July 1976Produced by Bob Ezrin, it peaked at No. 23 on the UK Albums Chart on August 14, 1976, during a seven-week run, and reached No. 27 on the US Billboard 200. Noted in a 1976 Rolling Stone review for its theatrical rock narrative and dark humor, the album continued Cooper’s shock-rock legacy with a conceptual underworld theme. Tracklist: A1. Go to Hell – 5:15 A2. You Gotta Dance – 2:45 A3. I’m the Coolest – 3:57 A4. Didn’t We Meet – 4:16 A5. I Never Cry – 3:44 B1. Give the Kid a Break – 4:14 B2. Guilty – 3:22 B3. Wake Me Gently – 5:03 B4. Wish You Were Here – 4:36 B5. I’m Always Chasing Rainbows – 2:08 B6. Going Home – 3:47 Note: The tracklist is based on the standard 1976 vinyl release (Warner Bros. Records). (below album cover and one-page advert)

Alice Cooper Group’s Easy Action  was released as an LP album in the US by Straight Records (catalog number STS 1061) on March 27, 1970, marking their second studio album.The title comes from a line from one of the band's favorite films, the musical West Side Story. As with Pretties for You, the band's debut from the previous year, Easy Action was neither a commercial nor critical success. Singles include "Shoe Salesman" with "Return of the Spiders". Drummer Neal Smith later said of the record producer David Briggs, "David hated our music and us. I recall the term that he used, referring to our music, was 'Psychedelic Shit'. I think Easy Action sounded too dry, more like a TV or radio commercial and he did not help with song arrangement or positive input in any way."[8] None of Easy Action’s songs have ever been performed live by Cooper since the tour in support of their third album Love It to Death;[9] in fact, only "Return of the Spiders" was performed on the tour for that album. A small number of early U.S. copies were pressed on the blue Bizarre Records label. These copies carry the same catalog number WS-1845 and album cover as the regular Straight Records release. Though perhaps seen as being an overlooked work in terms of later releases, Easy Action tracks "Mr. & Misdemeanor" and "Refrigerator Heaven" were both later included in the well-received compilation album The Life and Crimes of Alice Cooper. "Refrigerator Heaven" was also included in the Warner Bros. compilation album Zapped, which showcased acts signed or produced by Frank Zappa. The closing track "Lay Down And Die, Goodbye", which was originally written and recorded as a single B-side by the band when it was called Nazz, begins with a sample of Tom Smothers saying "You are the only censor; if you don't like what I'm saying, you have a choice: you can turn me off". This is followed by an instrumental jam and finishes with the chorus from the demo. The last part of the song is listed on the Science Fiction album as "I've Written Home to Mother", while the instrumental jam section is listed as "For Alice" or "An Instrumental". Mr. And Misdemeanor Shoe Salesman Still No Air Below Your Means Return Of The Spiders (For Gene Vincent) Laughing At Me Refrigerator Heaven Beautiful Flyaway Lay Down And Die, Goodbye

David Bowie’s Never Let Me Down  was released as an LP album in the UK by EMI America Records (catalog number AMLS 3117) on April 20, 1987. Never Let Me Down cover 2018 reissue Co-produced by Bowie and David Richards and featuring guitarist Peter Frampton, the album was recorded in Switzerland and New York City from September to November 1986. Bowie's goal for the project was to record it differently following his disappointment with 1984's Tonight. Musically, Never Let Me Down has been characterised as pop rock, art rock and hard rock; Bowie himself considered the record a return to rock and roll music. The cover artwork features Bowie surrounded by numerous elements from the songs. Never Let Me Down was commercially successful, reaching the UK top 10; its three singles all reached the UK top 40. Despite this, the album was poorly received by fans and was met with negative reviews from critics, with most criticising the "overblown" production. Bowie supported it on the Glass Spider Tour, a world tour that was at that point the biggest, most theatrical and elaborate tour of his career. The tour, like the album, was commercially successful but critically panned. The critical failure of the album and tour were factors that led Bowie to look for a new way to motivate himself creatively, leading him to create the rock band Tin Machine in 1989; he did not release another solo album until Black Tie White Noise in 1993. In later decades, Never Let Me Down is generally regarded as one of Bowie's weakest releases. The track "Too Dizzy" has been deleted from subsequent reissues due to Bowie's dislike of it. Throughout his lifetime, Bowie was critical of Never Let Me Down, distancing himself from the arrangement and production of the finished album. He expressed a desire to remake it numerous times, eventually remixing "Time Will Crawl" for the career retrospective iSelect in 2008. Its remixer, Mario J. McNulty, brought Bowie's idea to remake the whole album to fruition in 2018. Released as part of the box set Loving the Alien (1983–1988), Never Let Me Down 2018 features new production and instrumentation over Bowie's original vocals. Sourced from Wikipedia