[NEWS] ACE FREHLEY: VERY SPECIAL GUEST ON THE ‘SPEND THE NIGHT WITH ALICE COOPER’ CONCERT TOUR **ADELAIDE SOLD OUT**
The Architect of Shock-Rock Returns,
With Very Special Guest Ace Frehley!
Announcing Alice Cooper’s National Tour this October – celebrating the 40th Anniversary of his first Australian tour!
It was March 1977 when Alice Cooper, the architect of shock-rock, undertook his first ever concert tour of Australia – and broke attendance records. 40 years on and this revered entertainer continues to surprise and exude danger at every turn, thrilling audiences globally!
Fans will be delighted to hear that Alice Cooper will return to our shores this October for a 7-date national tour, ‘Spend The Night With Alice Cooper’. In what is sure to be rock event of the year, Alice will be joined by the original KISS “Spaceman” Ace Frehley, as Very Special Guest. The pairing of Alice and Ace brings together these highly respected icons of rock and roll!
The tour commences in Perth on October 17 and concludes in Brisbane on October 25, showcasing an immense body of work across the catalogues of both artists.
Alice Cooper pioneered a grandly theatrical brand of hard rock that was designed to shock. Drawing equally from horror movies, vaudeville, and garage rock, the group created a stage show that featured electric chairs, guillotines, fake blood and boa constrictors. He continues to tour regularly, performing shows worldwide with the dark and horror-themed theatrics that he’s best known for.
Alice’s catalogue of hits and anthems, including “I’m Eighteen”, “No More Mr Nice Guy”, “School’s Out”, “Elected”, “Poison”, and others, are featured in his live show, along with a mix of newer songs and fan-favourite album cuts. Alice’s touring band features the three guitar attack of Nita Strauss, Tommy Henriksen and Ryan Roxie, backed by longtime bassist Chuck Garric and drummer Glen Sobel.
Harking back to that first Australian tour in 1977, and Alice was in the country at the same time as ABBA-mania was taking hold. He made a considerable impact on audiences and the Australian music industry.
Garry Van Egmond, promoter of the infamous 1977 tour, recalls, “Before the age of computerised ticketing and the internet, Alice was the fastest ever selling concert tour in Australia at that time and for many years after selling out 11 shows nationally in 5 hours. That included 4 shows in Melbourne, 3 in Brisbane, 2 in Perth and outdoor stadiums in Adelaide and Sydney – Sydney set the record for the largest concert attendance to date at the time too with over 40,000 ticket sales.”
Glenn A. Baker is effusive in his praise, saying, “We’d not seen anything like it – a shock rock cauldron with great swathes of garage punk, horror movie scenes, vaudeville schtick and commanding showmanship, all draped around devilishly constructed songs you could shake your fists to and chant in unison. No wonder we developed a macabre romance with Alice that still burns decades later.”
Molly Meldrum, who hosted Alice Cooper live on Countdown many times says, “I recall the first time we had him on Countdown – there was Shirley (Strachan, of Skyhooks), Molly and then Alice, I thought, what’s going on here?
He is one of the true entertainers, inspiring a generation of rock stars to follow. His showmanship, the songs, the spectacle, were mind-blowing back in ’77 and stand up as strong as ever today. He’s genius.”
In Australia Alice Cooper has topped the charts with songs like “Department of Youth”, “You and Me”, “Poison”, “School’s Out”, “Clones”, “How You Gonna See Me Now”, “Welcome To My Nightmare”, “Only Women Bleed” – a universally treasured song celebrating women’s rights and anti-domestic violence covered by both John Farnham and Tina Arena – “Billion Dollar Babies”, “No More Mr Nice Guy” and so many more. The album “Welcome To My Nightmare” spent 101 weeks in the Australian charts!
“Nights With Alice Cooper”, Alice’s nightly radio show, is available in nearly 100 cities in Australia, the US, Canada and the UK. The five hour long show features his favourite classic rock songs along with his insider anecdotes about many of the artists.
With his influence on popular music long since acknowledged, his place in the Rock and Roll Hall of Fame secure, and with multiple gold and platinum albums, sold-out tours plus countless honours and career achievement awards, there is little that Alice Cooper hasn’t accomplished in his remarkable career. He has spent almost 50 years touring the world, releasing 26 Studio Albums, has sold more than 50 million albums in the US alone, and is an entrenched, multigenerational pop culture legend.
Alice is showing no signs of slowing down at all, announcing tour dates all through the US, Europe and Japan, all whilst working on a brand new album with long-time producer Bob Ezrin.
This will be Alice’s (lucky) 13th tour of Australia and he’s excited about what fans can look forward to.
Ace Frehley is a founding member of KISS, a musical maverick and iconoclast adored by millions of fans around the world. Ace played on the classic KISS albums from 1983 to 1992 before reuniting with the band from 1996 to 2001. Ace was responsible for many of the band’s biggest hits including “Talk To Me”, “New York Groove”, “2,000 Man”, “Rocket Ride”, “Shock Me” and more. Like Alice, Ace is also a Rock and Roll Hall Of Fame inductee, and has influenced hundreds of bands and inspired guitar players of the ilk of Tom Morello and Dave Grohl.
Frehley and KISS took the music and make-up concept to a new high, debuting in 1973 – Alice Cooper was present at their first showcase, stating to the media “what these guys need is a gimmick!”. Ace’s most recent album, “Origins Vol 1” saw Ace collaborate with everyone from Slash to former band mate Paul Stanley – the latter reuniting on record with Ace for the first time since 1998. Ace’s impact on popular music is immeasurable, and he continues to be the best selling member of the original KISS line-up.
Ace says, “I have been friends with Alice since the 70s, but I’ve never had the pleasure of touring with him! Our tour of Australia in October this year will be a major Rock & Roll event down under and leave all our fans with big smiles and wanting more!!! I can’t wait to hit the road!”
Ace Frehley will perform a 60 minute set of hits from his career in and out of KISS – and of course, he’ll be bringing the smoking guitar!
AUSTRALIAN TOUR DATES: ‘SPEND THE NIGHT WITH ALICE COOPER’ WITH VERY SPECIAL GUEST ACE FREHLEY
Tuesday 17 October – Perth Arena, Perth, WA
Thursday 19 October – Thebarton Theatre, Thebarton, SA
Friday 20 October – Margaret Court Arena, Melbourne, VIC
Saturday 21 October – Hordern Pavilion, Sydney, NSW
Monday 23 October – AIS Arena, Canberra, ACT
Tuesday 24 October – Entertainment Centre, Newcastle, NSW
Wednesday 25 October – Convention Centre, Brisbane, QLD
Alice Cooper Fan Club pre-sale commences at 12pm noon on Thursday 20 April 2017 and concludes at 12pm noon on Friday 21 April 2017.
Telstra Thanks is bringing an exciting 48 hour pre-sale exclusively for Telstra customers from 2pm Friday 21 April 2017. Head to Telstra.com/alicecooper for more details on how to purchase.
Velocity Frequent Flyer is offering a pre-sale window for a limited time to Velocity members, available via www.velocitylive.com.au from 3pm Wednesday 26 April 2017 until 3pm Thursday 27 April 2017.
BEASTO BLANCO – BEASTO BLANCO
Released: Nov 25, 2016
℗ 2016 Rat Pak Records
Although Chuck Garric may be a household name in the American rock community, I have a feeling it’s about to get a whole lot bigger with the new self-titled release from his band BEASTO BLANCO.
I personally first heard about Chuck back in 2014 when he played alongside Alice Cooper at The Palms in Los Vegas during the “Raise The Dead” Tour and have been following his progress with anticipated enthusiasm. I got to see him perform personally with Alice during Motley Crue’s gargantuan final world tour, you think he would want to take a small breather but not Chuck…. Onwards and upwards… Rock never sleeps!
It wasn’t long before we heard the news of a new release from the Beasto Blanco camp. Their self-titled, full length second album, on November 25, 2016 via Rat Pak Records.
“Live Fast Die Loud” was the essence of rock. It had the grit, and the ballsy sound you would expect. However, along comes “Beasto Blanco”. Wow. Talk about grit, talk about raw ballsy sound. They have doubled up on everything they had for the first release. Fellow vocalist Calico Cooper was quoted as saying “This record is like a baseball bat to the chest that you want more and more of“. And that is nothing further from the truth.
Buried Angels starts the album off with the industrial/rock sound that Beasto Blanco have made all their own. This of course goes hand in hand with Chucks voice. Lightening up when Calico chimes in with her vocals. It’s the perfect fit of ying and yang. Rock n Rolls version of dirty and clean vocals. Not forgetting to mention the killer guitar riffs that will have even the meekest rocking out on their air guitar.
Grind is one of my personal favourites. It has a beat to die for. At this stage of the album, Beasto Blanco have come out firing on all cylinders. These 2 songs instantly set the tone and forces the rest of the album to fall in line and live up to them. This song is catchy as hell. Everything about this feels like it’s a new biker jacket that must be stomped on and hauled through the mud & dirt because nothing is cool about a shiny leather biker jacket. Again, Chucks voice fits this perfectly, along with the badass bass sounds from Jan LeGrow and Tim Husungs heavy drum beats.
It’s not surprising that Beasto Blanco’s interpretation of Alice Cooper’s Feed My Frankenstein’s main vocals are sung by his daughter Calico Cooper. You might have seen her in videos or on stage with her mother as part of Coopers stage show. Nothing beats the original of course, but this would have to be one of the better covers I have heard. Makes it even cooler that it is generational. I should mention again the vocal switch in this song between Chuck and Calico shows how suited their voices are together. Ying and Yang.
Carcosa takes a turn and you are wondering whether you are still listening to the same band. Its missing the industrial grit sound of the previous songs, and Chucks vocals reminds me more of Ozzy Osbourne’s Crazy Train days.
Death Rattle brings you right smack into a sleazy smoke filled bar with its crawling beats and grungy Californian rock sound. Followed by Dark Matter, which I can only describe as a gritty rock love song. We see the return of the Ozzy-esque vocals and you will feel like you have been thrown into some futuristic space age era. Personally, what stands out to me is the lyrics. I get a sense of Chuck’s darkside. I really believe they will resonate with anyone who takes the time to really listen and hear them. Shortly after we have a short (52second) vocal interlude by Billy Bob Thornton that will be interpreted differently by different people. I will leave you to your own interpretation.
WHACK!! There goes that baseball bat to the chest as you’re brought somewhat violently, back to reality with I Rise. Bringing back that gritty raw sound and along with it comes a mish mash of instruments that somehow just work.
Machine Girl sees Calico strike again with the main vocals, channelling her demented and warped Harley Quinn side. I would personally like to see what they came up with as an accompanied music video to this. Fast paced and furious duet, as per only Calico and Chuck know how to do. Mad beats and riffs round of this rocking sound perfectly.
With only 3 tracks to go we have Honey and Blind Drive which are two dirty original rock tracks where the vocals are almost spat out at the listener. Ramming it home that Beasto Blanco are only just starting to rock your world. In both of these tracks, I can clearly hear some Alice Cooper influence, maybe his years of rocking out with him have laid a foundation of where Chuck will always go back to. “Let the pandemonium in”… Invitation accepted!
Rounding off the album we have Damnation and upon a few listens I think this is another personal favorite. Slow and steady rock beats, easy to listen to and follow along. I have visions of this being blasted back at the band when sung live. Loud and Proud.
Chuck comments “This album is a clash of elements coming together in an organic implosion of sonic perfection, Beasto Blanco is not about reinventing the wheel, we’re all about giving ’em cool rims!” I cannot sum this album up better than that! Awesome stuff guys (and one bad-ass girl)! Cant wait to hear more.
The utterance of “I’m a Richie girl” from star-struck female fans have been a favourite companion in my life since 1983, generally because it ignited some heated and robust discussion amongst those whose opinions may differ. For the rest of us, the work of Richie Sambora has been at very least stunning and unforgettable, sans requirement for me to guild the lily further. But with his return to Australia in September 2016 being the catalyst for further celebration, and in the company of none other than our favourite Australian expat in Orianthi, I cannot contain my digital lingua. It’s simply too exciting.
At Silver Tiger Media we freely confess to being big fans of the Adelaide Orchid since 2007 and we celebrated with great glee watching her fan base explode with the 2009 release of According To You. And from there Orianthi Panagaris has been a staple of our appreciative rock n roll diet, catering in constantly pleasing form to our meticulous palates.
I will resist the overwhelming temptation to celebrate Orianthi’s musical brilliance with too long an article. Rather I will simply invite all interested parties to share some of this remarkable performer worldwide acclaim, as our travels here and there made the vain attempt to satisfy an unquenchable thirst for her musical prowess.
I will simply let you read on in accompanying pages, offered to build the anticipation further for RSO’s (Ritchie Sambora & Orianthi) Australian Tour. This a most welcome opportunity to see these brilliant stars live and in person as we wait patiently for their keenly anticipated album. Richie, you know we have long loved your work in Australia and cannot wait to see you again. Orianthi, every year and to every adoring Australian heart…you always come home. Thank you
“We’re not worthy, we’re not worthy” …There ok I said it. I can move on now.
Pearl Concert Theater at Palms Casino Resort, Las Vegas. What a venue for a night of ghoulish guitar work, morbid melodies, vicious vocals and all round ghastly scenes.
Staring at the thin veil separating an eager crowd from the macabre depth of Coops imagination, I ponder the man himself. Will he present post show with a chainsaw to sever my bleating head and complete a good night’s work?
I’ll try not to worry. And wait patiently to find out.
Out comes Australia’s own Orianthi. Loooong boots, longer coat and signature hat keeping hidden the source of the flowing blonde locks. Shredding guitar style in the most casual of cool rocking manners. Awesome!!!
Particularly as the introduction was veiled in an impressive shower of sparks, through which walks the master of nightmares himself.
Sporting a stylish suit of black with red stripes, or red suit with black stripes depending on your seat location.
First up ‘Hello Hooray’ with the fearsome chanting and singing from front line faithful. Then ‘House of Fire’ much to the delight of the Trash vintage fans.
A storyline unfolds on stage as the audience are treated to a solid mix of old and new tracks. ‘Department of Youth’ crowd involvement shifted the casino a good 6 inches to the left.
Alice is put to a theatrical death most horrible, but resurrected to the music of… no prizes for guessing… ‘Feed My Frankenstein’ as a mammoth Alice puppet takes to the stage.
While speaking with the occupant of the costume later I am assured that it’s “hot as a sumbitch in there”. I’m not sure of the metric equivalent for Australian readers but we can presume, north of warm.
I watch the alter ego and peruse the items around the stage pondering my age when Alice’s demons came to life. By the time I was 9 years old Alice had spent a decade of alcohol-fuelled touring and madness on the road. According to reports, in a moment of sobriety, Vince realized that Alice was the root of all the evil inside and the maniacal screaming pain laid out for all to witness on stage.
In 1977 the psychological abnormality suspected by many had was made manifest and saw Alice institutionalized.
Following a period of ‘sanity’ Vince made the mistake of sipping wine from wife Sheryl’s glass and the Frankenstein, the evil persona Alice was, yet again awakened.
In 1983 after recording ‘Da Da’ he returned to phoenix in a horrific state…some say to die, but he did and did not.
But tonight and now eternities from the excesses of earlier touring success, alcoholism and insanity, I wondered if Alice was gone and Vince remained to play the role. Or perhaps vice versa.
As the show continued it evolved more as contemporary theatre rather than a rock concert as, one by one tomb stones appeared bearing the names of past musical greats to the soundtrack of Alice and co-resurrected their music.
We bear witness to Alice ‘Raising The Dead’ as Jim Morrison, Jimi Hendrix, Keith Moon and John Lennon’s legacies are brought to the fore.
A few more tracks, the jacket from Wayne’s World, the snake makes his appearance and the show reaches its triumphant denouement.
Fortunately for me, my questions apropos the man and the beast, were near to being answered.
And there he was. In legendary splendour, but without make up. Without Alice. It was Vince that came through the green room door. Polite and deeply apologetic for the delay post show. The man had just unleashed a show of such intense proportions and magnificence that the resounding cries for encore were still ringing in my ears, and he is apologizing…What a …dare I say it…gentleman.
Where do you start when visiting one of the world’s most underrated musical marvels?
A timeless phenomenon relentlessly unveiling such unprecedented theatrical performances and transforming that art to the rock stage.
As we discussed his years on the road he chuckled as he revealed that his wife and daughter were now both part of the show. He was seemingly filled with joy and incredulity that he was still summoning these enormous crowds and creating a legacy for his family.
We spoke of Australia and the possibility of a potential upcoming tour. He was unmistakably frank when he said “I want to see you when I get to Melbourne’’. He is a man of such sincerity that I left fearing that I would disappoint him if we did not meet in Melbourne 2014 or maybe 2015.
But where was Alice Cooper? Some playful banter and I attempted to extract the demon within, but to no avail.
He certainly played the part for the pictures but that smile says it all.
You see Alice was not here at all. This articulate and tremendously pleasant man is Vince Furnier. A deeply spiritual, poignant and moving man. Relatively softly spoken and probably the most genuine and forthright human being it has been my pleasure to meet.
My understanding is that when the curtains closed following the last song, Alice Cooper collapsed dead on the stage. Vince Furnier materialized as a phoenix from the ashes and walks back into a welcoming world. Thankfully the demons of the past seem to rest with Alice and leave Vince at peace. That is until he takes the stage and Alice Cooper is again resurrected. Then madness can prevail. Nightmares become reality. Alice Cooper stalks the hellish stage of horror and all can be right in the world.
(Review and photos by Casper)
A tremendous contingent of fans both young and not so young, line the precincts of Rod Laver Arena for this historic and monumental celebration of a tremendous musical and popular culture career.
Being avid fans of Melbourne based band Muscle Car, I keenly await their appearance on the big stage and see what sort of a wallop Damo and the lads can pack.
Clearly Muscle Car have been rehearsing for a performance of this magnitude since their inception circa 1998. There is no doubt the boys were ready, willing and as keen as you like to grasp this opportunity with both hands and belt the proverbial out of it…musically speaking.
The first night provided some unfortunate sound issues that clearly made a minor impact for the band, but with those gremlins overcome by night 2, the boys were ready to dominate and show what they are capable of. Their stage presence and celebration of the night were truly reflected in their musical delivery, thereby making certain that all assembled were in no doubt that this is what the group were always aspiring to. I have absolutely no doubt that performance, coupled with the opportunity afforded to them by Triple M Melbourne, will launch the lads further into musical success and ensure an ongoing staple of appearances. The confidence demonstrated by Damien during a prior interview with me, was clearly present on stage. Well done lads, you certainly delivered in extremely fine form.
Having had prior opportunity to visit Alice Cooper in Las Vegas and observe in bewildered awe the Raise The Dead Tour in full effect, I was just a little excited to see the toned down version of his show in support of the Crüe. A more apt description of my mood was like a kiddy before Christmas just after the folks had landed the lottery.
As Alice took to the stage, the crowd front and center seems astonished and somewhat befuddled. We saw his name on the promo, we saw his merch on the way in…but now it hits home…It’s him! The mighty one here and before us live in Melbourne. Into the tracks and the crowd were in full celebration. It is difficult to grasp that a man of this vintage remains so thoroughly capable and tremendously thoughtful in his delivery of malevolent madness through song. But having met with the man and discussed music at some length, it is clear that he remains genuinely concerned for each, and every concert attendee’s pleasure and enjoyment of the shows he delivers with his tremendous group. I must admit to a little disappointment in the knowledge that Orianthi is busy with other commitments and would not be traveling with Alice on this tour. All concerns were laid to rest and replaced with new memories of the wonderfully talented Nita Strauss. Her guitar prowess and immersion into the Alice Cooper show are tremendous and thoroughly memorable.
With classic tracks of old accompanied by more contemporary music, the crowd really appreciated the performances delivered by the entire band. The stage show of legend, in shortened format, was not the slightest bit disappointing, save for the fact that I could not help but wish all assembled could see the madness in full flight, complete with Alice’s daughter playing the part of a second psychopathic Sister of sadistic nursing intent on Mr. Cooper’s demise. Yet again, Alice is eloquently electrocuted, transformed into his fiendish Frankenstein alter ego famished for feeding, and finally beheaded in vain attempt to put this walking, talking legend of shock rock to everlasting silence. This is, of course, impossible as the only one capable of killing off Alice Cooper is the wonderful gentleman himself, namely Vincent Furnier.
Veiled in darkness, the headliners take to the stage and erupt into the music magnificence that we have all enjoyed for so many decades. I believe Mötley Crüe are completely cognisant of the fact that this is a sad night for so many. The last chance for a multigenerational mix of fans to watch their heroes live, loud and present everything that Crüe to a triumphant finale. This show is acknowledged by the band as the last for so many, but that’s where the sadness ends. No teary fare thee well, and completely sans sobbing sentiment and we are provided with a tremendous and memorable show.
Vince Neil has lost nothing to time in his stage presence and vocal ability, wowing the crowd to what can only be described as a pyrotechnic festival of light, confetti, fire and fanfare.
I will resist the temptation to wade track by track through the show, but rather comment on some of the highlights such as Nikki Sixx parading each section of the stage in an attempt to personally acknowledge each and every celebrating soul. The same goes for Vince who I think winked and smiled at me about 10 times. Perhaps it was the great seats or an unforgettable ugly mug like mine. Either way, I know is wasn’t alone in a personal acknowledgment. The crowd responded in fine fashion to ‘Shout at the Devil’, although after all these years I still don’t know what to shout at him. Perhaps a kindly inquiry as to whether he is suitably fitted with asbestos underpants. That way he may be safe from the flame-throwing guitar donned by Nikki because nothing else was. Not even his microphone.
For me, ‘Kickstart My Heart’ was the highlight offering both fond memory and sombre farewell as the group charged through every ounce of my physical being and elicited every emotion brought to the fore with every track enjoyed, every year of their career.
Tommy Lee states he has been waiting his entire career to be aloft the crowd in his tremendous ‘Cruecifly’, highlighting his percussive skills in whatever physical attitude we might seek his services. And yes Tommy, we wish there were 13000 seats up there with you too and we know that you mean ‘dear devoted fans’ each time you fondly refer to us as ‘fuckers’.
This tremendous show with animated solos and stage presence from Mick Mars, seeming abridged in recent shows was only marred by one disappointment, namely the final track. Home Sweet Home was absolute faecal matter on a special stage. Performed beautifully and as a special treat to those seated at the back, but complete crap none the less. Utterly disappointing simply because that’s it. It’s all over. No more Mötley Crüe for Melbourne ever. But chin up and cries of nil desperandum. They will perform in our heart and minds for evermore and each track put to the speaker will bring us all right back to this tremendous finale. Fare well Mötley Crüe and thank you for it all.