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Alice Cooper - Hey Stoopid (Reissue) (2013)
vom: 21.05.2014
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1710
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Öffentlicher Name:
eRaZEr
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mp3
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Alice_Cooper-Hey_Stoopid-Reissue-2013-GRAVEWISH [img(width=316 height=60)]links/images/splogo.jpg[/img]
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ÜÛÛÛÛÛÜ °ÛÛÛÛÛÜ ÜÛÛÛÛÜ°ÛÜ °ÛÜ ÜÛÛÛÛÛÜ ÛÛÛÜÛÛ ÜÛÛ ÜÛÜ ÜÛÛÛÛÛÛ ÜÛÜ ÜÛÛÛ °ÛÛÛÛ°ÛÛßÛÛÛÛ² ßÛÛ ÜÛÛ°ßÛÛÛÛÛ ÛÛÛÛ ÛÛÛ² ÛÛÛÛÛÛ²ÛÛ ²ÛÛÛÛÛÛÛ ÛÛÛ²°ßÛßÛÛÛÛ ÛÛÛ² ÛÛÛ² ²ÛÛÛ° ÛÛ ÛÛÜ ÜÛÛ²ÛÛ ²ÛÛÛ²ÛÛ° ²ÛÛÛ°ÛÛÛ°ÛÛÛÛÛÛÛÛÛÛÛÜ ÛÛÛ°ÛÛÛ° ÛÛÛ° ÜÛÛÛ ÛÛÛ ÜÛß° ÛÛÛÛÛÛÛÛ°ÛÛ ÛÛÛÛÛÛÛÛÛÜ ²ÛÛ°ÛÛÛ ÛÛÛ²ÛÛÛÛÛÛÛÛÛ ÛÛÛÛÛÛÛ ÛÛÛ ÛÛÛ° ÛÛÛÛÛÛÛ ÛÛÛ² °ÛÛ ÛÛ ÛÛÛÛÛÛ² °ÛÛ ßÛÛ ÛÛÛ°ÛÛÛ²ÛÛÛÛÛÛ ÛÛÛ²ÛÛÛ ÛÛÛ ÛÛÛ ÛÛÛÛÛÛÛÛ°ÛÛÛ° ÛÛÛ ÛÛÜ ÛÛ²ÛÛÛ° ÛÛÜ ÛÛ°ÛÛ² ÛÛÛ ßßÛÛÛÛ ÛÛÛ°ÛÛÛ ÛÛÛ ÛÛÛ ÛÛÛ²°ÛÛÛÛÛÛÛ° ÛÛÛ ÛÛÛ²ÛÛ ÛÛÛ ÛÛÛ²ÛÛ²ÛÛ° ÛÛÛ ²ÛÛÛÛ ÛÛÛ ÛÛÛ ²ÛÛ² ÛÛÛ ÛÛÛ° ²ÛÛÛÛÛÛ ÛÛÛ ²ÛÛÛÛ ²ÛÛÜ ²ÛÛÛÛÛÛÛÛ ÛÛÛ ²ÛÛÛ ÛÛÛ ÛÛÛ ÛÛÛ°ÛÛÛ ÛÛÛ °ÛÛÛÛÛÛ ÛÛÛ °ÛÛÛÛ °ÛÛÛ ÛÛÛ²ÛÛÛ² ÛÛÛ °ÛÛÛ ÛÛÛ ÛÛÛ ÛÛ²ÛÛÛ ÛÛÛ ÛÛÛ²ÛÛ ÛÛÛ ÛÛÛ ²ÛÛÜ ÛÛÛ°ÛÛÛ° ÛÛÛ ÛÛÛ ÛÛÛ ÛÛÛ °ÛÛÛÛÛ ÛÛÛ ÛÛ²°ÛÛÜ ÛÛÛ ²Ûß ²ÛÛÜ ÛÛÛ ÛÛ° ÛÛÛ ÛÛ² ÛÛÛ ÛÛÛ °ÛÛÛß °Ûß ÛÛ° ÛÛ °Ûß °ÛÛÛÜ ß ß ²Ûß ÛÛÛ° °Ûß ÛÛß ÛÛ° ÜÛÛß °ÛÜ ÜÛÛÛß °ÛÛ ° ÛÛ ²° ²° ÛÛ° ²Û° °Ûß ßÛ° °Û² ° ÛÛ ÛÛ Artist: Alice Cooper ÛÛ ÛÛ ² Û°° þÛ Album: Hey Stoopid Ûþ °°Û þ Û²ß Û Year: 2013 Û ß²Û ° Û ² Rel. Date: 2014-05-20 ² Û ± ± Genre: Hard Rock ± ± ÛÜ ° Label: Hear No Evil Recordings / Cherry Red ° ÜÛ ° ÛÜ ° Source: CD ° ÜÛ ° Û² Type: Reissue ²Û ° ² Û Quality: VBR, 44.1kHz, Joint Stereo Û ° ² ² Û Û ° ² Ü þ þ ² þ °Û Û° ß Û • A worldwide chart smash, Alice Cooper’s 19th Û Û studio record, “Hey Stoopid” built on the huge Û Û success of the previous heavy hitter, 1989’s Û Û “Trash”. Û Û • Joined by Alice on vocals & harmonica, drummer Û Û Mickey Curry, guitarist Stef Burns and bassist Û Û Hugh McDonald are a cavalcade of special guests, Û Û including highly influential guitar wizards Joe Û Û Satriani, Vinnie Moore and Steve Vai, Guns N’ Û Û Roses’ Slash, Motley Crue’s Nikki Sixx & Mick Mars Û Û (who co-write one track, ‘Die For You’), plus the Û Û legendary Ozzy Osbourne providing backing vocals Û Û on the album’s title track. Elvira, Mistress of Û Û the Dark provides the spoken word part on ‘Feed My Û Û Frankenstein’. Û Û • “Hey Stoopid” was produced by Peter Collins, Û Û famed for his work with Rush, Queensyrche and Air Û Û Supply, among many others. Û Û • Bonus tracks are the Beba Edit of ‘Hey Stoopid’, Û Û plus non-album tracks ‘It Rained All Night’ and a Û Û cover of Jimi Hendrix’s classic, ‘Fire’. Û Û • The album featured three hit singles; the title Û Û track, the self explanatory ‘Love’s A Loaded Gun’ Û Û and ‘Feed My Frankenstein’. The latter was Û Û performed in the 1992 comedy movie “Wayne’s Û Û World”, in which Alice also starred. Û Û Û Û There are iconic, landmark albums which help to Û Û define an artist and a career. Certainly one can Û Û pinpoint the album “Trash”, released in 1989, as Û Û helping to resurrect Alice Cooper as a major Û Û commercial force. So, given the vagaries and usual Û Û conservatism of most record labels, managements Û Û and even musicians, you’d have expected Alice Û Û Cooper, with the full co-operation and approbation Û Û of everyone around him to have decided to keep Û Û intact the team that had helped to make “Trash” Û Û such a major triumph. But not a bit of it. Û Û Instead, Alice made significant changes, the most Û Û far-reaching of which was the replacement of Û Û Desmond Child, the producer and his main Û Û songwriting partner on “Trash”. Û Û “I can’t now recall exactly what happened,” says Û Û Alice, “but it must have been a scheduling problem Û Û with Desmond. He was probably committed to working Û Û with Bon Jovi or Aerosmith, and we were anxious to Û Û go straight back into the studio as soon as we Û Û could. If Desmond had been available, then we’d Û Û have certainly worked with him again. Things went Û Û so well on “Trash” that it would have been the Û Û logical thing to do.” Û Û Peter Collins, an Englishman who had previously Û Û worked with Rush, Nik Kershaw and Queensryche, Û Û among others in the past, was the man chosen to Û Û produce to new album. Û Û “I liked what he had done, and the ways things Û Û worked out it was the perfect choice. Peter has a Û Û way of ensuring things are relaxed and fun in the Û Û studio, but he’s also very methodical and makes Û Û sure things get done properly. He had the ability Û Û to take an idea I might have vaguely in my head, Û Û and make it work technically. He was also very Û Û patient, so if I listened back to something and Û Û felt we should alter one note then that would Û Û never phase him. He’d go ahead and do it. I had a Û Û great time with Peter, and would always work with Û Û him again.” Û Û Despite his virtual absence this time, Child does Û Û get co-writing credits on two songs, namely ‘Might Û Û As Well Be On Mars’ and ‘Dangerous Tonight’. Û Û “I also worked with my old guitarist Dick Wagner Û Û on that first song, and I can honestly say for me Û Û it’s the best track we ever wrote together. Û Û There’s just something about it that came together Û Û almost on its own, and this stands out for me as a Û Û brilliant representation of what the two of us Û Û could achieve. Û Û “For me, ‘Dangerous Tonight’ is the best song ever Û Û written about vampires… bar none. It captures what Û Û vampires are all about, and has a very special Û Û vibe. It’s not scary, but is really cool. But I Û Û did want something scary on this album, which is Û Û why I did ‘Wind-Up Toy’, and brought back the Û Û character of Steven (who originally featured on Û Û the “Welcome To My Nightmare” and “Alice Cooper Û Û Goes To Hell” albums in 1975 and 1976, Û Û respectively). He brought a disturbing edge to Û Û this song that I was keen to bring out.” Û Û Steven’s locked away in a lunatic asylum, where Û Û his only friends are insects, rats and his toys. Û Û It’s certainly a charismatically uncomfortable Û Û song. There are two other major songwriters Û Û involved on this album, namely Jack Ponti (who was Û Û involved in composing the aforementioned ‘Wind-Up Û Û Toy’) and Jim Vallance. They both came into this Û Û project with established reputations, and each in Û Û their own right brought something new to the Alice Û Û Cooper canon. Û Û “Jack Ponti had sent me demos of songs, and when I Û Û played them I was impressed that he had a great Û Û grasp on getting the hook right for a song. To me, Û Û as long as there is a clear hook and a song title, Û Û then I can do the rest in terms of getting the Û Û lyrics done. I liked what Jack did, and I spent Û Û quite a bit of time with him in New Jersey working Û Û on song ideas. Û Û “When you have been in this business for as long Û Û as I have, then you quickly get to know the names Û Û of the hottest songwriters around, and Jim Û Û Vallance was certainly someone people talked of as Û Û being among the best writers around. He’d done a Û Û lot of work with Bryan Adams, of course. The way Û Û we worked together was that I’d fly up to Û Û Vancouver where Jim lived, and we’d literally put Û Û aside a four-hour block and see what we came out Û Û with. It was his preferred method, and certainly Û Û got results for us.” Û Û While there was a clear theme to “Trash”, this Û Û time around Alice didn’t want to be grounded and Û Û restricted in the same way. Û Û “On “Trash”, the theme was really Sunset Û Û Boulevard. But with “Hey Stoopid”, I didn’t feel Û Û the same need to have a theme linking all of the Û Û songs. And the first song I actually wrote was the Û Û title track. Û Û “At the time, there had been a spate of teenage Û Û suicides in California, and it got me thinking Û Û about what you might say to your best friend if Û Û you found out they were thinking of committing Û Û suicide. The chances are you would call them Û Û ‘stoopid’ for thinking about taking such action. Û Û That’s the way you’d talk to a friend, and try to Û Û persuade them how crazy it is to think about Û Û suicide, and it went from there. This was my open Û Û letter to all the teens who thought suicide was a Û Û good way out, and I got their attention by yelling Û Û “Hey Stoopid” at them!” Û Û Interestingly, Ozzy Osbourne guests on this Û Û vigorously anti-suicide song, which somehow was Û Û appropriate for the time. Û Û “Ozzy had just fought this law suit brought Û Û against him for the song ‘Suicide Solution’.” The Û Û parents of two Ozzy fans, who claimed the kids had Û Û tried to kill themselves because the song’s lyrics Û Û openly encouraged suicide, had unsuccessfully sued Û Û the then former Black Sabbath frontman, “So to Û Û have him on this song, which was clearly totally Û Û against the idea of suicide made a lot of sense.” Û Û Ozzy was just one of a number of top guests, Û Û mostly guitarists, who appeared on the album, Û Û adding an extra cachet to the final sound and Û Û style. Û Û “What happened was that we went to Bearsville Û Û Studios in Woodstock to do the basic tracks, and Û Û once we had those down, we went down to LA where Û Û the fun could start. By that I mean that we could Û Û think of all those great musicians whom we could Û Û get into the studio to play on a track. It was Û Û always a totally spontaneous thing. Just a case of Û Û sitting there and thinking, who’d be right to play Û Û on this song? And because we were in LA, it was a Û Û lot easier to get people down to the studio.” Û Û One of the biggest coups Alice brought off was to Û Û get Steve Vai and Joe Satriani to play together on Û Û the song ‘Feed My Frankenstein’. Û Û “For me, it was like having the chance to get Jeff Û Û Beck and Jimmy Page to play together - a real Û Û moment of history. But people kept telling me that Û Û I’d never pull it off. They said the problem was Û Û that Joe had given Steve guitar lessons, so there Û Û was no way the two would agree to appear on the Û Û same track, but I didn’t listen to those Û Û negatives. I called up and asked them, and they Û Û were both really happy to do it! That was great.” Û Û Slash played on the title track, and Alice used Û Û his knowledge of the guitarist to ensure the best Û Û possible performance was captured for the album. Û Û “I told the studio engineer to roll the tapes as Û Û soon as Slash started to play. Don’t wait until he Û Û tells you he’s ready. Just get the recording going Û Û from the first rehearsal. You see, I know with Û Û someone like Slash sometimes the best take will be Û Û one that he regards as more than a run-through, Û Û and if you miss that moment, then it never comes Û Û back. Slash is the sort who will do take after Û Û take after take, but nothing can match what he Û Û does at the beginning, when the vibe and energy Û Û are right. And what you hear on the album was what Û Û Slash thought was a rehearsal, but the engineer Û Û captured it, and it is killer.” Û Û “This session with Alice was my first studio Û Û “session”, as it were,” adds Slash. “I was very Û Û excited to have been asked by Alice to do it. The Û Û actual recording was pretty fast. Alice encouraged Û Û me to just do my thing. Which, in itself was very Û Û flattering. It was a fun, no pressure, positive Û Û experience. Especially, as I really dug the song, Û Û and Alice was so laid back and cool.” Û Û Another guitarist featured was Vinnie Moore, then Û Û regarded as one of the hottest young virtuosos on Û Û the scene. He played on the songs ‘Hurricane Û Û Years’ and ‘Dirty Dreams’, and recalls the Û Û sessions with great satisfaction and delight. Û Û “Alice was having some guitarists do guest spots Û Û on the record, and I was asked to play on two Û Û songs. Some rough mixes were sent to me in advance Û Û so that I could learn the songs. They were Û Û recorded at Bearsville Studios , which was about Û Û three or four hours from where I lived. I drove Û Û there the night before the session with a couple Û Û of guitars and an amp head. I believe it was Û Û February 1991, and it was very cold and snowy. Û Û When I first met Alice at the studio as they were Û Û recording keyboards that night, and he was playing Û Û an invented game with one of the band members that Û Û they called “scud ball”. It was ping-pong, but Û Û they had added a glass to the centre of each side Û Û of the table, and you got extra points if you Û Û could get the ball into the glass. The term ‘scud’ Û Û came of course from the Scud Missile, which we Û Û were all hearing too much about on the news at the Û Û time. Û Û “The recording went very smoothly and was quick. I Û Û think I finished in about four hours. I laid down Û Û two rhythm guitars and solos for each song. I Û Û remember playing the rhythm straight through for Û Û ‘Dirty Dreams’ in one pass. At the end of it, Û Û Alice said, ‘It’s obvious you know the song, you Û Û played it perfectly. but it’s too perfect, can you Û Û do it again and play it more sleazy?’ He wanted a Û Û little more rawness, and for it to be more Û Û ‘loosey-goosey’. So we went for it again with that Û Û approach, which was definitely right for the song. Û Û Sometimes when you know you are going to be double Û Û tracking a rhythm, you play it in a straight way. Û Û Peter Collins was producing, and told me to just Û Û go for whatever popped into my head on the first Û Û rhythm, and that we would worry about doubling it Û Û after. This allowed me to be more free with the Û Û part. Everyone would give an opinion here or Û Û there, but their approach was that they wanted all Û Û the guys who were guesting on the record to do Û Û their own thing, so they didn’t try to guide me Û Û too much. They wanted me to bring my own energy. Û Û “The session was short and sweet. Afterwards we Û Û all went out to dinner, and then I drove home in Û Û the evening. it was definitely a little Û Û nerve-wracking and a bit surreal to be sitting in Û Û the studio working on tunes with Alice Cooper. But Û Û I felt fairly comfortable because he was such a Û Û normal and nice guy. A couple months later I was Û Û asked to join the band, and ended up doing the Û Û U.S. tour with them.” Û Û The album was released in July 1991. It got to Û Û number four in the UK charts, and number 47 in Û Û America. And three singles, ‘Hey Stoopid’, ‘Love’s Û Û A Loaded Gun’ and ‘Feed My Frankenstein’, were all Û Û Top 40 hits in Britain. And Alice still has a lot Û Û of affection for this album. “You know, it has Û Û some of the best songs I have ever written. And Û Û for that reason alone, it’s an album I still Û Û love.” Û Û Û Û Malcolm Dome Û Û London, UK, July 2013 Û ² ² ± ± ° 1. Hey Stoopid 4:34 ° ° 2. Love's a Loaded Gun 4:11 ° ° 3. Snakebite 4:33 ° ° 4. Burning Our Bed 4:33 ° ° 5. Dangerous Tonight 4:43 ° ° 6. Might as Well Be on Mars 7:10 ° ° 7. Feed My Frankenstein 4:44 ° ° 8. Hurricane Years 3:58 ° ° 9. Little by Little 4:35 ° ° 10. Die for You 4:16 ° ° 11. Dirty Dreams 3:29 ° ° 12. Wind-Up Toy 5:29 ° ° 13. Hey Stoopid (Beba Edit) (Bonus Track) 3:57 ° ° 14. Fire (Jimi Hendrix cover) (Bonus Track) 3:03 ° ° 15. It Rained All Night (Single B-Side) 3:53 ° ° (Bonus Track) ° ° 67:08 ° ° ± ± ² Û ° ² ° þ ÛÜ ° ÛÛ ßÛÜ° ÜÜÜÜÜ ² ° ÜÜÜÜÜ °ÜÛÛ° ° ßÛÛÛÛ²ÛÜÜÛÛÛÛÛÛÛÛÛ²° ÛÛÛ ÛÛÛ²° ÛÛÛÛÛÛÛÛÛÜÜÛÛÛÛÛÛß ² ²ß² ±ÛÛÛÛÛÛÛßß ßÛÛÛÛÛÛÛÛ± °ÛÛÛÛÛÛÛÛß ßßÛÛÛÛÛÛÛ°²ß² þ ° ÜÛ°ÛßßÜÛÛÛÛܲ ßÛß Û²° ±²Û ßÛß ÜÛÛÛÛÜ ßÛÛÛÜ° ÜÛß° °ÛÛÛßßßÛÛÛÜ ßÛ± ÛÛ² ÛÛ ²Ûß ÜÛÛÛßßßÛÛÛ° ßÛ° Ûß ²ÛÛ² ÜÛÛÛ ßÛ² ÛÛÛÛ ±Ûß ²ÛÛÛÜ ²ÛÛ² ßÛ² Ûß ²ÛÛ° ±ÛÛÛÛÛÛ² ßÛ Û² Ûß ²ÛÛÛÛÛÛ± °ÛÛ² ßÛ ± ÜÛÛ °ÛÛÛ ²ÛÛÛ² ß°ÛÛ°ß ²ÛÛÛ° ÛÛÛ ÛÛÜ ± °Ûß ÛÛÛ Üß ÛÛÛÜ ²ÛÛÛÛ± ÜÛÛÛßÜ ÛÛÛ ßÛ° ²Ûß ÜÛÛÜÛß ° ÛÛÛÛÛÛÛÛÛÛÛÛÛÛ ßÛÜ ÛÛÜ ßÛ² Ûß ÛÛÛÛßÛܲ°ÜÛ ßÛÛÛÛÛÛß Ûܲ°ÜÛßÛÜÛÛ ßÛ² ° Ü ÛÛß ßÛÛÛÛß ßÛ²ßÛÛ ßÛÛÛÛß ßÛÛÛ Ü ± Û°Û² ÛÛ° Û° Û °ÛÛ ßÛÛ±Û ÛÛÛ° ±Û° Ü ² ± °Û± ²ÛÛÛ ° ²ÛÛ ° ÛÛ² ÛÛ° °ÛÛ Û± ° °Û ßÛ Ûß ² ° °
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