Love It To Death ($5 SPECIAL)

"Alice Cooper's third album, Love It to Death, can be pinpointed as the release when everything began to come together for the band. Their first couple of albums (Pretties for You and Easy Action) were both largely psychedelic/acid rock affairs and bore little comparison to the band's eventual rip-roaring, teenage-anthem direction. The main reason for the quintet's change was that the eventually legendary producer Bob Ezrin was on board for the first time and helped the Coopers focus their songwriting and sound, while they also perfected their trashy, violent, and theatrical stage show and image. One of the band's most instantly identifiable anthems, "I'm Eighteen," was what made the album a hit, as well as another classic, "Is It My Body." But like Alice Cooper's other albums from the early '70s, it was an incredibly consistent listen from beginning to end. The garage rocker "Caught in a Dream" as well as the ass-kicking "Long Way to Go" and a pair of epics -- the Doors-esque "Black Juju" and the eerie "Ballad of Dwight Fry" -- showed that Alice was easily in league with other high-energy Detroit bands of the era (MC5, Stooges). Love It to Death was the first of a string of classic releases from the original Alice Cooper group." - All Music Guide

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  • "Recorded in November 1973 at the Omega studios in Chicago, Outside the Law is undoubtedly still the definitive Epitaph album. The sound engineer was Dave "Grape" Purple, who won the 1971 Grammy for Best Engineered Recording on Isaac Hayes' Theme from Shaft. The recording of Outside the Law was completed in just 5 days, with very few overdubs, and the final mix was done by Ed Cody at the United Technique studio on Chicago's South Side.So how does a German rock band get to be recorded by studios and engineers who built their reputations on black music - and produce such a brilliant album?In early summer 1972, Epitaph did a mind-blowing rock festival gig at Berlin's Waldb├╝hne stadium. Also present that day was Gary Pollack, head of Billingsgate Records, who stopped Cliff Jackson on the way to the dressing room with the announcement that "in six weeks you guys will be doing a US tour". Knowing that no German rock bands had ever toured or recorded in the USA before, Cliff and the guys were somewhat sceptical about the project. But sure enough, Epitaph landed at Chicago's O'Hare Airport in August 1972 for a successful twenty-day tour.Returning on a cloud of euphoria to the band residence near Visselhovede in northern Germany (plenty of poets, painters, animals, and ladies, but no heating, no bath, and only an outside toilet) work commenced on a new album. The demo was recorded two months later at the Windrose Studio in Hamburg and then sent over to Gary Pollack, who invited the band to come back to Chicago to do the full recording of Outside the Law.While Billingsgate was preparing the release of the album, Epitaph spent their time gigging around the Chicago area.It was around this time that Irving Azoff, then managing Joe Walsh, wanted to take Epitaph under his wing. The band met up with him for two days to try and work out a deal, but the German manager they already had developed some seriously cold feet. Bearing in mind that their manager, Werner Kuhls, did not speak a word of English, it was hard to comprehend just which of Azoff's propositions he was objecting to. The net result was that Epitaph couldn't get out of the contract with Kuhls, and Kuhls was dreaming of hitting the big time. Ordered back to Germany for a Europe-wide tour, it was soon clear that Kuhls was no Azoff. The tour turned out to be fronting for Status Quo, and one festival gig. Azoff went on to represent such artists as The Eagles, Jewel, Van Halen, Neil Diamond, Steely Dan, Guns N' Roses, and Christina Aguilera, to name but a few. Werner Kuhls went on to be a concert promoter and publisher of the German version of Rolling Stone. Now without a manager, Epitaph hoped for success with Billingsgate.When they returned to the US for their third tour in late 1974, it soon became clear that despite excellent sales of the album, Billingsgate was in dire straits and unable to finance a proper promotional tour. Two months of sporadic gigs later, the guys returned to Germany. When Billingsgate was finally declared officially bankrupt, the band was afraid it might get stuck with some of the debt, so officially split up in January 1975. Klaus, Bernie and new drummer Panzer Lehmann played with various German bands, while Cliff headed off in the direction of Kathmandu.Having shaken off the disappointment of the Billingsgate episode, the band members got together once again later that year to lay down some tracks in Dortmund. The tapes were lost. The band continued in various line-ups throughout the eighties, producing a number of albums.Following a suggestion from Rudolf Schenke of the Scorpions, Jim McGillivray and Cliff Jackson got the band together again for the now legendary Live at the Brewery concert in 2000. Sometime later, Cliff was sorting out his cellar, and found the Lost Tapes. Epitaph fans now have the chance a selection of these Lost Tapes which have been added here as bonus tracks. And the twenty-five year wait has been well worthwhile."
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  • Third collaboration from Steven Wilson and Aviv Geffen. Mr. Geffen wrote all of the material except for one track. Musically speaking its a very different animal than Porcupine Tree. Its much more laid back with a heavy emphasis on orchestration. I'm reminded a bit of later Pink Floyd and also Roger Water's solo works. Not a lot of pyrotechnics and really not much in the way of heaviness. Its almost as if Mr. Wilson has taken a supporting role as opposed to equal stature to Mr. Geffen. If you are looking for Porcupine Tree's quasi psychedelic metal look elsewhere. Blackfield presents you with (well recorded) art rock that targets your emotions rather than your thought process.
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