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Alice Cooper Group’s "The Alice Cooper Show," two one-page adverts in Melody Maker, June 17, 1972.

Alice Cooper Group’s "Here For One Gig," a one-page article in Melody Maker, June 17, 1972.

Alice Cooper Group’s Jumpin' Jack Presents Wembley June 30, The Last Killer Show, a one-page advert in Melody Maker, June 24, 1972.

Alice Cooper Group’s "Beauty And The Beast," a two-page article in Melody Maker, July 1, 1972.

Alice Cooper Group’s "Killer's 1st Performance," a one-page advert in Cashbox Magazine, July 1, 1972.

Alice Cooper Group’s "All People Want," a one-page article in New Musical Express, July 1, 1972.

Alice Cooper Group’s "Alice Camping Out," a three-page feature in New Musical Express, July 1, 1972.

Alice Cooper Group’s "Nightgowns and Cobras," a three-page feature in IT Magazine, July 6, 1972.

Alice Cooper Group’s "Mad Alice," a one-page article in New Musical Express, July 8, 1972.

Alice Cooper Group’s Cool Ghoul, a one-page cover, album review, and article in Melody Maker, July 8, 1972. NO MORE school, little baby: rock's outrageous Alice Cooper, in the process of dismembering a doll at Wembley Empire Pool on Friday. As the axe bit into the plastic, artificial blood spurted out over his hands. Later on in the act he paid the penalty for child murder. He was hanged by the rest of the band. Is Alice taking rock to its logical limit, or just playing good musical comedy?

Alice Cooper Group’s "Alice Malice," a one-page article in Melody Maker, July 22, 1972.

Alice Cooper Group’s Shock n' Roll Alice for President, a cover and two-page feature in New Musical Express, August 19, 1972.

Alice Cooper Group’s Alice In London, a cover and four-page feature in Rock Magazine, August 28, 1972.

Alice Cooper Group’s Picturescope, a cover and two-page feature in Beat Instrumental Magazine, September 1, 1972.

Alice Cooper Group’s "The Last Days of Rome," a two-page feature in Beat Instrumental Magazine, September 1, 1972.

Alice Cooper Group’s A Dangerous Record?, a one-page cover in Melody Maker, September 2, 1972.

Alice Cooper Group’s Heartbreak, a one-page cover in Record Mirror, September 2, 1972.

Alice Cooper Group’s "All American Boy," a one-page article in New Musical Express, September 2, 1972

Alice Cooper Group’s "I Get Drunk to Go on Stage," a two-page candid interview and Love It to Death review in New Musical Express, September 23, 1972.

Alice Cooper Group’s Alice Really is a Nice Guy, a four-page feature, poster, and Elected full-page ad in Disc Music Newspaper, September 30, 1972.

Alice Cooper Group’s "Elected-Alice Surging Ahead," a one-page single review in Melody Maker, September 30, 1972.

Alice Cooper Group’s The People, a cover and five-page feature in Sounds Magazine, October 1, 1972.

Alice Cooper Group’s "Who Shivers?," a one-page feature in Bravo Magazine, October 8, 1972.

Alice Cooper Group’s Alice Here for a Day, a cover and one-page feature in New Musical Express, October 14, 1972.

Alice Cooper Group’s "Alice In Scotland," a one-page advert in New Musical Express, October 21, 1972.

Alice Cooper Group’s "Spot The Errors," a one-page feature in 16 Magazine, November 1, 1972. .

Alice Cooper Group’s "What's Left," a two-page feature in Rock Scene Magazine, November 1, 1972.

Alice Cooper Group’s "D' Ya Hear Me?," a two-page feature in New Musical Express, November 4, 1972.

Alice Cooper Group’s "Cooper For President!," a one-page article in Hit Parader, November 9, 1972.

Alice Cooper Group’s "Alice's Version" a two-page feature in Circus Magazine, November 1, 1972.

Alice Cooper Group’s Fear & Loathing Come To The Top Twenty , a cover and four-page feature in Creem Magazine, November 1972.

Alice Cooper Group’s "Who's Alice Cooper?" a five-page feature in Teen Magazine, November 1, 1972.

Alice Cooper Group’s Sex! Violence! Rock!, a cover and five-page feature in Circus, June 1, 1971.

Alice Cooper Group’s Love It to Death, a one-page advert on the back page in King Harvest Magazine, April 1, 1971.

Alice Cooper Group’s Alice Action, a cover and two-page feature in Music Scene, January 1, 1973.

Alice Cooper Group’s Power To The Pupil , a cover and three-page feature in Hit Parader, January 1, 1973.

Alice Cooper Group’s Alice Tops The World, a one-page cover in New Musical Express, January 27, 1973.

Alice Cooper Group’s "Alice In Legal Tussle With Treasury Over LP," a one-page article in New Musical Express, January

Alice Cooper Group’s "The Seven Most Outrageous Rock Stars of 1972," a four-page feature in Circus Magazine, January 1973 In 1972, a Pittsburgh preacher denounced Alice Cooper (below left) from the pulpit, a self-appointed British censor tried to wipe him off the airwaves, and the University of Houston student body elect- ed him home-coming queen. The astonishing Carnegie Hall debut of David Bowie (opposite page) attracted more pink, green and blue hair, dyed afros, men in gowns, and girls with silver glitter glued to their cheeks than America had ever seen gathered in one audience before. Hordes of mascaraed male rockers and battling multi-million dollar managers made 1972 The Year Of The Unbelievable. 1972 was the year of unadulterated outrage in rock. It was the year of men in hot pants and lipstick mincing around the stage, baby dolls hacked to bits amid showers of blood, and lawsuits so large they rivaled the Pentagon budget. It was the year of a Cocker comeback that competed with the Howard Hughes affair for intrigue and suspense, a T. Rex tour that rivalled the downfall of Oedipus for tragic disappointment, and a Cros- by, Stills, Nash and Young breakup so murky that not even the group itself seemed to know if it was still together. But despite the billowing clouds of stage smoke, the heaps of silver sparkles, and the countless storms of controversy, there were seven rockers so utterly outrageous

Alice Cooper Group’s "Hurricane Alice Takes Europe By Storm," a four-page feature in Circus Magazine, February 1, 1973. "Alice, Alice, Alice," screamed three hundred frenzied fans as the red, white, and blue fifty-two-seater plane glided to a landing at Glasgow, Scotland's Prestwick Airport. But when the group triumphantly stepped down the ramp, their expressions of delight turned to open-mouthed horror as mobbing supporters broke through police barricades and caused such a disarray that Alice and the band were forced to flee to waiting limousines, leaving their baggage behind. Hurricane Alice, as the Glasgow press soon dubbed the tangle-haired superstar, was whisked off to the safety of the Central Hotel for the awesome beginning of Alice's most tumultuous European tour ever, a tour that opened with the most frightening twenty-four hours in the history of Cooper madness, soon produced a maniacal superstar recording session destined to make the sessions for The Who's new Tommy look like a dull summit meeting for stuffed-shirt octogenarians, and reached its peak with a Paris bash that made Jagger's New York birthday party look like a shoe salesmen's convention at a second-rate resort. Beginning the reign of terror: The first tremors of the Glasgow scare were felt back in New York two days before the band was slated to appear at Glasgow's Green's Playhouse. Already notorious for their frequent outbursts of violence during soccer matches, the young people of Glasgow had erupted in a bloody battle Alice Cooper: The rest stop in London that Alice hoped would be a peaceful breather turned into a tumultuous drunken recording session with Keith Moon, Marc Bolan, Ric Grech, Donovan, and Harry Nilsson. royale, at a hotly-contested soccer exhibition game, and the front page of the London Times showed a young girl being carried out of the Glasgow Stadium with a knife stuck in her head. It was no wonder that members of the Cooper team were literally quaking in anticipation of their own concert and hastily canceled plans to have Alice go onstage carrying two scarves from the opposing soccer teams. At first, their worst fears seemed confirmed: surrounded by hundreds of agitated devotees, the boys were held virtual prisoners in their hotel. And forty personal bodyguards had been added to the swelling entourage by the time the boys reached the Playhouse to kick off their first European gig. The three thousand fanatical admirers inside greeted Alice's arrival with the biggest exhibit of pop frenzy ever to hit Scotland. Before Alice had even reached the stage, hundreds of eager girls had broken through police lines, collapsing three rows of seats under the crush. As the act unfolded with a flood of bubbles gushing around the musicians, Alice slunk into the spotlight, resplendent in bone-crushing tight gold lamé pants and a black leather top. Strutting and primping, his eyes smeared with black goo makeup, he primed his band into one of their most historic concerts. Getting off on the violence: With the grace of a grotesque ballerina, Alice Cooper: When the group returned from their European tour, they plunged into preparations for Alice on Broadway, a week-long stint at New York's Broadway Theater in February.

Alice Cooper Group’s "Hello Hurray," a one-page advert in New Musical Express, January 27, 1973.

Alice Cooper Group’s "Hello Hurray," a one-page review in New Musical Express, February 3, 1973

Alice Cooper Group’s "Alice To Lecture," a one-page article in New Musical Express, February 3, 1973.

Alice Cooper Group’s "Alice For Festival," a one-page article in New Musical Express, February 3, 1973

Alice Cooper Group’s "Billion Dollar Babies On The Road," a two-page article in New Musical Express, March 31, 1973

Alice Cooper Group’s Alice's Express, a cover and two-page feature in Muziek Express, June 1, 1973.

Alice Cooper Group’s "Nixon is a Superstar," a nine-page feature in Touch Magazine, June 1, 1973

Alice Cooper Group's "Demented Freak " cover and three-page feature on rock music, June 4, 1973.

Alice Cooper Group’s "Off Stage I'm Ozzy Nelson", a cover and six-page feature in Hit Parader, July 1, 1973.