Alice Cooper - Killer - Expanded Version

Of course, I have owned the Killer album since it first came out and have had the CD version for pretty much as long as I can remember but, also of course, I had to pick up this new expanded version. The original album appears on the first CD in a remastered version - I am not a real audiophile so I can't really tell a big difference, but it does sound crisp'n'clear and there may be some parts that pop out a little more clearly than in past versions.

But the reason for buying this version is really CD two - a live set from 4-2-72 in Puerto Rico, of all places, along with a few studio outtakes. The band was truly at the peak of their powers at this time, with each'n'every band member firing on all cylinders and with no extra instrumentalists - just the band as they should be heard and before lead guitarist Glen Buxton succumbed to the ravages of alcoholism.

They open with waves of feedback, power chords, rollickin' drums, rollin' bass lines and a blast into their then-current single, the fantastic rocker, "Be My Lover" - a great, straight-forward version, although Michael is a little buried in the mix. A second to tune then their next stomper, "You Drive Me Nervous", highlighted by Glen's lead work as well as the twin guitar attack of Michael with Glen that segues with some feedback into "Yeah Yeah Yeah", where the guitars rule once again (the two really worked great together with harmony lines) as Alice takes a few melodic liberties and blows a fine  harmonica break (he was a great player) and although they seem to get a little lost coming back from the solo, they pull themselves together with relative ease for a strong closing.

Bruce invokes some eerie organ work that provides the basis for a twisted take on their massive hit, "I'm Eighteen", with lots more variation in the vocals'n'arrangement and lets Glen stretch out with some ferocious licks and they build this incredible powerhouse of a song into a crazed climax with an extended ending (including a touch of "American Pie" and some scat singing from Alice) and a feedback finale. So freakin' good! This is followed by their terrific "opus", "Halo of Flies", with its intricate arrangement, multiple changes and hip spy theme (Alice even name-checks "Diamonds Are Forever"), done flawlessly, which moves right into Love It To Death's wonderful "Is It My Body", a riff-rocker with an added extension at the end with a slinky, stripper beat and a morbid theme of "going to the graveyard to pick up some bones" that builds back into a powerhouse end for the song. (Loved this when I first found it on a bootleg and covered it back in my Tommyknockers days).

The centerpiece of the show at this time was, of course, "Dead Babies", a song about child neglect which was showcased by Alice chopping up baby dolls (causing understandable confusion about the topic) followed by the title song, "Killer", which, of course, led to Alice's "execution", at this time by hanging. But naturally, Alice is resurrected and returns with a blistering take on "Long Way To Go"  (which ends with a burst of feedback and a wild jam on the "School's Out" riff) before hitting "Under My Wheels" (with a breakdown for Alice interact with the audience and hand out some cash while singing the 60's tune "Money") for a breathless closer!

The bonus studio tracks are a very different "You Drive Me Nervous" - the verse lyrics are almost completely changed and the lead track has some variation - along with an alternative take on "Under My Wheels" (not nearly as divergent but with a changed - and great! - solo section and an abrupt ending), and "Dead Babies" that really just has some minor contrasting bits.

The booklet is a real prize here, with all of the surviving member talking about each of the songs, who wrote them, what they were thinking about, what influenced them, what they were trying to do and who came up with what parts. This is the stuff that I love and there's some amazing information, even if some of the memories (unsurprisingly) conflict. I never considered, for instance, that "Halo Of Flies" was supposed to be their "prog rock" opus to show that they could really play and to give "ELP a run for their money"! There's also talk of extra people who just happened by the studio and sat in (Rick Derringer, for one), a bit of information about the accompanying live show and some liner notes from Creem magazine's (and AC fan) Bill Holdship. 

 

All in all, a terrific package and well worth it - a must have for fans!