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Alice Cooper Group's School Days - The Early Recordings a one-page album review in Record Mirror from July 21, 1973.

Alice Cooper Group’s School Days: The Early Recordings , a full-page advertisement in New Musical Express, July 28, 1973.

Alice Cooper Group’s "Alice Through the Looking Glass," a two-page feature in Show Magazine, August 1, 1973.

Alice Cooper Group’s "How to Start Your Own Rock Band," a four-page feature in Circus Magazine, August 1, 1973.

Alice Cooper Group’s "In The Deep South," a one-page article on Dali and five-page feature in Rock Scene Magazine, September 1, 1973.

Alice Cooper Group’s "Why Britain Wants Alice Banned," a four-page feature in Circus Magazine, September 1, 1973.

Alice Cooper Group’s "Alice Through The Camera Lens," a one-page article in Disc, January 26, 1974.

Alice Cooper Group’s Alice Cover De Faces, a one-page cover in Muziek Express, September 1, 1973.

Alice Cooper Group’s Alice Cooper's Greatest Hits, a one-page advertisement and three-page feature in Circus Magazine, October 1, 1974.

Alice Cooper Group’s "Alice and His Boa Constrictor," two one-page articles in Veronica Magazine, August 4, 1973. For the first time in the Netherlands, on your own t-shirt in full color

Alice Cooper Group’s Solo Alice, a one-page cover feature in Melody Maker, August 3, 1974.

Alice Cooper Group’s "Alice Cooper Retires," a four-page feature in Circus Magazine, April 1, 1974.

Alice Cooper Group’s "Slick Black Limousine," a one-page cover in New Musical Express, February 17, 1973. FREE ALICE SINGLE 4min 20 sec single THIS FREE SINGLE "Slick Black Limousine" is a world exclusive and was SPECIALLY RECORDED by Alice for New Musical Express as a tribute to readers who voted the band the World's Top in the recent NME Poll Running time of the single - previewed last week on "Old Grey Whistle Test" is 4 min. - 20 sec. Further time is made up by extracts from the new Alice album released by WEA, "Billion Dollar Babies". The record is necessarily in flexi-form to assist nationwide distribution with this week's NME. In common with other records of its kind it has limited life but with good equipment first class reproduction is possible. A small weight - perhaps a coin sometimes assists stability

Alice Cooper Group’s "Alice Readies Ace Solo LP," a one-page feature in Circus Magazine, October 1, 1974.

Alice Cooper Group’s "Hard Hearted Alice," a six-page feature in Veronica Magazine, September 14, 1974

Alice Cooper Group’s "Alice Invites You - Between the Sheets," a four-page feature in 16 Magazine, October 1, 1974.

Alice Cooper Group’s "No Business Like Alice," a two-page article in Disc, February 17, 1973.

Alice Cooper Group’s "Alice A Dead Baby?," a one-page article in Disc Music Newspaper, May 4, 1974.

Alice Cooper Group’s "Cooped Up With Alice," a one-page article in Music Star Magazine, May 25, 1974

Alice Cooper Group’s "Alice On Boredom," a three-page article in New Musical Express, March 24, 1973.

Alice Cooper Group’s "The Preacher's Son Who Became Alice Cooper," a four-page feature in People Weekly Magazine, April

Alice Cooper Group’s Inside Alice , a cover story, five-page feature, and Neil Smith advertisement in Rolling Stone, May 10, 1973.

Alice Cooper Group’s "Alice Freak's Out!," a four-page feature in 16 Magazine, October 1, 1973.

Alice Cooper Group’s "Alice, Has He Gone Mad?", a cover, one-page article, and one-page advertisement in Disc, February 16, 1974.

Alice Cooper Group’s "Alice & His Guillotine Head For Your City," a one-page article in Rolling Stone, April 12, 1973.

Alice Cooper Group’s "Circus And Alice," a one-page article in Circus Magazine, February 1, 1974.

Alice Cooper Group’s Alice & Freak Rock, a cover insert and one-page feature in 16 Spec, November 1, 1973.

Alice Cooper Group’s "Alice Left Hanging," a one-page clipping in Melody Maker, April 13, 1974.

Alice Cooper Group’s "Alice Lives!," a one-page article in Melody Maker, March 24, 1973.

Alice Cooper Group’s "A Chance To See Alice Live!," a two-page feature in Music Scene Magazine, January 1, 1974.

Alice Cooper Group’s Alice Talks About His Muscle of Love , a cover and seven-page feature in Beetle Magazine, October 1, 1973.

Alice Cooper Group’s "Is Alice Cooper Still Relevant?," a two-page article in Veronica Magazine, March 9, 1974. It has been eerily quiet around Alice Cooper the last few weeks. The band that gave the pop scene a solid injection in terms of the emergence of new 'sounds' and also ensured that the competition started doing some 'stage presentation', is somewhat less in the spotlight. Despite the unique packaging, the LP "Muscle Of Love" made a lot less turnover than the previous records and the single "Teenage Lament '74" also did not reach the intended high chart positions. The LP has been somewhat compromised in the States by the vinyl crisis, but the impersonal character of the cover also seems to have had a negative effect. Cooper's 'live' performances appear to be better and more captivating than ever at the moment, the response from the audience is enormous. Alice should therefore come to Europe again soon to convince us of his 'usefulness'. Let him bring another LP of "Killer" format, we are really looking forward to that. Hypnotic songs, the characteristic guitar sounds of Rick Derringer and the voice that cuts into the subconscious

Alice Cooper Group performed at the Empire Pool (now Wembley Arena) in London, England, on June 30, 1972, as part of their Killer Tour promoting their albums Killer (1971) and School’s Out (1972). This concert marked a pivotal moment in their career, showcasing their theatrical shock rock style to a UK audience. The Wembley show was part of the European leg of the *Killer Tour*, following U.S. performances. It was their second major UK appearance, after their 1971 Rainbow Theatre show, which had mixed reviews due to a reserved audience. At Wembley, they aimed to make a stronger impression with a more refined and theatrical performance. The concert was a true spectacle, likened to an “updated version of the Roman Games,” featuring simulated violence and props like fake blood (“finger-lickin’ tomato ketchup”). Alice Cooper’s antics, including wielding a riding crop, whip, sword, cane, and maracas, were designed to shock and entertain, captivating a younger crowd while challenging traditional norms. Performance Details Setlist: - Be My Lover - You Drive Me Nervous - Yeah, Yeah, Yeah - I'm Eighteen - Is It My Body - Halo of Flies - Dead Babies - Killer - Long Way to Go - School's Out - Under My Wheels The show featured an elaborate stage production with props like a boa constrictor, fake blood, and simulated violence, including dramatic “death” scenes. Alice Cooper’s performance combined rock with theatrical excess, highlighted by a new 11-foot snake (the previous one allegedly escaped down a hotel toilet). The band also hinted at surprises, with Alice joking about wearing Catholic school uniforms to connect with UK audiences rebelling against dress codes. Roxy Music, then an emerging band, opened for Alice Cooper, as noted in the concert program. This added significance to the event, as Roxy Music was becoming a key player in the UK glam rock scene. The Wembley show attracted an energetic crowd, described as “fresh-faced innocents” who cheered enthusiastically for the band’s theatrical carnage. Unlike the quieter response at the Rainbow Theatre, the Wembley audience was far more engaged, reflecting the band’s growing UK fanbase. The concert marked a pivotal moment in solidifying Alice Cooper’s reputation as a theatrical rock act in Europe, with media highlighting their “best theatrical rock ‘n’ roll show since the Stones.” The event featured a 14-page concert program for “The Alice Cooper Show,” which included a centerfold poster and promoted School’s Out The concert was previewed in outlets like Melody Maker and reviewed in New Musical Express by Roy Carr, who likened the event to a modern-day Colosseum spectacle. A Guardian article from 2017, reflecting on the event, highlighted the band’s rising fame, noting their media penetration in the U.S. (e.g., a Wall Street Journal feature) and their ambition to outdo themselves The band had just come from a U.S. tour, including a canceled Pittsburgh show at Three Rivers Stadium due to flooding, rescheduled for July 11, 1972. They flew to London specifically for the Wembley performance, indicating its importance in their tour schedule By 1972, Alice Cooper was cementing their status as “The Godfather of Shock Rock,” blending horror, vaudeville, and garage rock. The band’s provocative stage antics (e.g., mock executions, baby doll mutilations) and androgynous image, inspired by films like What Ever Happened to Baby Jane? , were polarizing but commercially successful. The UK was a key market for Alice Cooper, with “School’s Out” topping the charts. The Wembley show was a chance to capitalize on this success and prove their live prowess after the lukewarm Rainbow Theatre response. Alice himself noted the difference in audience energy, expecting a more receptive crowd at Wembley due to the band’s tightened performance. Island did a great job in promoting Roxy at the Alice Cooper gig on the 30th. Simply placing copies of the first album cover on each seat meant that punters, like myself and my pals, first saw Kari-Ann, then looked inside to catch a first glimpse of the band – instantly smitten! Steve E. @SteveE32042299

Alice Cooper’s "Welcome to Nightmare d'Alice!," a three-page feature and two-page poster in Best Magazine, September 1, 1975.

Alice Cooper Group’s "Alice Shock", a one-page cover in Melody Maker, March 3, 1973. DRAMA surrounded the Alice Cooper camp this week on the eve of the band's gigantic 60-date tour of America-the largest tour ever undertaken by a rock band. Reason was that lead guitarist Glen Buxton. was still not fully recovered from a serious stomach ailment. Buxton has spent several weeks in hospital since falling ill just before Christmas. So the Cooper band have had to hire guitarist Mick Mashbir, a close friend of the band, from Phoenix, Arizona. For the last few days Mashbir has been studying Buxton's role in what must be the most extraordinary show to ever take the road. The tour - provisionally 60 dates in 90 days-kicks off in Rochester, NY, on March 5, and ends at Madi-son Square Garden, New York City, on June 3. A troop of clowns, and other "bizarre " figures will take to the road with Alice. Including road managers, aids, and the group, the road party comes to more than 40 people. Alice has hit 13 in the MM chart with his new single "Hello Hurray," and the new album Billion Dollar Babies" is set for release next week.

Alice Cooper Group’s "Which Way Do You Want Him?," a three-page article in 16 Magazine, February 1, 1974. As every 16 reader knows there are two (at least!) Alice Coopers! Which Alice do you dig? Do you prefer the far out, freaky, ferocious fella shown here? Or do you like Alice sweet 'n charming (as he appears in the pix following on page 58), α regular guy surrounded by pets and plants in his plush pent- house pad? And which is the real Alice Cooper? Not even Alice knows for sure, but keep tuned, cos 16'll keep bringing you both Alices until he makes up his mind or you do! (Now be sure and see page 58 for the other side of Alice!)

Alice Cooper Group’s Alice's Best , a cover and three-page feature in Best Magazine, July 1, 1973.

Alice Cooper Group’s Alice's Bucketload , a centerfold poster in Disc Music, April 21, 1973.

Alice Cooper Group’s "Alice's New Horror Show," a three-page feature in Bravo Magazine, May 24, 1973.

Alice Cooper Group’s "Alice's Secret Sins," a two-page article with "Muscle of Love" lyrics in 16 Magazine, June 1, 1974.

Alice Cooper Group’s Alice's Knees Up , a one-page cover in Pop Magazine, January 1, 1974.

Alice Cooper Group’s Alice's Tour Of Tinseltown , a cover and three-page feature in Creem Magazine, August 1, 1974.

Alice Cooper Group’s Alice's Popfoto, a cover and two-page feature in Popfoto Magazine, May 1, 1974.

Alice Cooper Group’s Alice's Centrespread a two-page centre-spread in Record Mirror, February 24, 1973

Alice Cooper Group’s "Alice's Popswop," a one-page article in Popswop Magazine, January 26, 1974.

Alice Cooper Group’s "Alice's Movie With Polanski," a one-page feature in Melody Maker, August 11, 1973.

Alice Cooper Group’s "Horror?," a two-page article in Bravo Magazine, June 7, 1973. Report and opinions on Alice's game with death Wooden clamps close around his neck. He can no longer escape. Three meters above him hovers the sharp-edged iron that is to behead him. Breathless silence in the hall. Music swells like never before. Slowly, the executioner takes the rope in his hand, which triggers the guillotine. Once again, Alice looks palely at the audience. Then a tug on the rope. The knife whizzes down. Full light falls on the scene as Alice's severed head falls into the basket. A cry goes through the Convention Hall as the executioner takes Alice's bleeding, pale head from the basket and holds it out to the audience. It takes minutes Alice Cooper with Bubi Heilemann until the fans realize that Alice is alive, that it was all just a gruesome gag But the beheading scene is not without danger for Alice. The guillotine is real, the knife sharp. Alice really has her head underneath it. Only: At the moment the guillotine comes swirling down, Alice can quickly duck her head into a cavity beneath it. A wooden block prevents the knife from thundering in there. The severed head is a lifelike plastic replica. But the trick sends a shiver down even Alice's spine every time: "That scene makes me feel pretty uneasy. Everything about it is real, except for the bit of wood between my head and the sharp knife! But I love this kind of theater. I want to provoke the audience. As evil as possible. I'm not a preacher, I'm an entertainer." "Pretty heavy," said a girl next to me in Detroit, and that means: A scene like that really moves you But can one subject an audience to such horrific scenes? Is it permissible to play with the horror of death on stage? Horror with a Question Mark "If the beheading scene in Alice Cooper's new show is meant to reflect the cruelty of the world, then I have nothing against his stage horror. But if he's only doing it to make money, then he's playing a dangerous game with the emotions of young people. I'm of the opinion that people go to a concert or a theater to be entertained. But then to have to see such horrific things on stage...? Certainly, there are many young people and adults who enjoy going to Dracula films. Some of these films are perhaps even bloodier than Alice Cooper's show. However, I think that anyone who watches something like that must be morally sound. Only then will they not react aggressively to what they see." Protest against "the old" "In our society, every kind of music reflects what an entire class of people likes, what they profess, how they would like to be. Alice Cooper is simply resisting the world of adults, in which everything seems to be so orderly. That's precisely why adults find him so unsavory, perverse, and crazy. The young people who like Alice and his music show disagree. They think it's good that he makes fun of school, money, and now death. In reality, every sensible young person will know full well that having fun with horror and making fun alone is not enough to cope with life, problems, and death." Alice's mother also saw her son's show in Detroit. Mustn't she have been particularly horrified? For many fans, the beheading scene was nothing more than a thrill. But can a mother bear to watch her son, if only for fun, put his head under the guillotine and have it chopped off as a gag? BRAVO spoke to Alice's mother: He's just acting "For a moment, I thought Alice had really had herself beheaded. For a moment. But I know that Alice always wanted to shock and provoke people. He did that as a child, and now he does it even more, and sometimes people ask me: Is your son crazy? How can he walk around in that outfit? How can he perform with a snake? How can he hang himself one time and behead himself the next? They don't understand that for Alice Cooper, the world is a big theater in which everyone plays their role as best they can. And Alice is a clown and an actor.

Alice Cooper Group’s "The Boy Wonder," a one-page article in New Musical Express, February 5, 1972. SOME THIRTY MONTHS Ago I first experienced Alice Cooper. Alice was new to the rock and roll game then, fresh out of Arizona, a state totally unrenowned for its pop music contributions. Even taking into account Alice's inexperience, the greatest surprise is not that Alice has since gone on to become a first-rate star, but that he survived at all. We were at the 1969 Rock And Roll Revival in Toronto, one of this continent's last great pop festivals. After all this time, the memories remain fresh: the very frightened chicken, a battered watermelon, and guitarist Neal Smith climbing banks of speakers, supposedly in search of meaning but more apparently trying to disassociate himself from the chaos below. "We were scared," Neal admits now. "The only way we could go on stage was to get drunk first." Until Yoko Ono made her appearance, Alice was easily the worst performer of the day. So why is Alice suddenly a star? He didn't make a success of himself without some outside help. By no coincidence, his real success dates back to the day he was taken in hand by Bob Ezrin. Since that time, Ezrin has earned himself the nickname "Boy Wonder" and become a full partner in Jack Richardson's Nimbus 9 (The Guess Who) organization. But just over a year ago, he was merely another young producer.

Alice Cooper’s "Alice Is Back," a cover and three-page feature in Joepie Magazine, February 18, 1979.