I have some thoughts about Alice Cooper's latest, Road, but wanted to wait to share them until after I'd had time to digest his disappointing comments about trans people.
It's a testimony to how much Cooper is loved and respected that even fans who disagree with him are bending over backward to interpret his words in a way that paints the 75-year-old shock rocker in a positive light.
Yeah, he's entitled to his opinion. But since he's built a career based in part on gender-bending wardrobe changes and inclusiveness for people who don't follow the dictates of society, some of his comments are a little ... well, shocking.
Cooper didn't completely dismiss trans people, no matter what the headlines say. He said there were legitimate "cases of transgender" but also worried that it was a "fad." He repeated tired old talking points about men pretending to be trans so they could use women's restrooms and "have the time of [their] life in there." He also criticized "the whole woke thing."
Sentiments like these aren't unusual from somebody Cooper's age, especially given the calcified grip with which that demographic clings to Fox News, but it's unusual to hear it from him.
Unfortunately, the singer violated a policy he's articulated in many interviews and at least one song: "Shut Up and Rock" (from 2021's Detroit Stories).
I had to parse how his words will affect not only his transgender fans but also their parents and grandparents. Granted, people should not place too much stock in the opinions of celebrities, yet they do. I've lost count of the social-media posts I've seen that say, "I stand with Alice," "Right on, Alice," "100%," and so on, indicating he's given some fans another reason to shun inclusivity. His words are going to make life a little tougher for kids and parents dealing with these challenging issues, and that's a shame.
For this lifelong fan, his words also mean that Alice Cooper the Man isn't nearly as cool as Alice Cooper the Performer. Consider that bubble duly popped.
Now, on to Road.
It's solid. Cooper and his longtime touring band have crafted a loose concept album, with songs about world travel and hard rockin'. This is a shallow theme around which to build an entire record, and that lack of depth is reflected in the lyrics, too many of which are basically about how cool it is to be a rock star in general and Alice Cooper in particular.
Road could be more relatable to us working stiffs if it had included numbers about the different types of folks one encounters while traveling — salespeople, soldiers shipping out or on their way home, refugees, and the like. Instead, the record focuses on just the vagabond rock-star lifestyle—fine, but limiting. Imagine From the Inside without Nurse Rosetta, Millie and Billie, and Veronica for a sense of the missed opportunities here.
Given the album's singular focus, though, it's not surprising how it pays homage to various Cooper classics that are staples of his live show. Listeners will hear callbacks to "Elected" at the tail end of "I'm Alice," and a lyrical echo of "Eighteen"— like it, love it, like it, love it — in "All Over the World." Self-reference has been a signature Cooper characteristic for decades; this album is no exception.
Road's great strength is how comfortable everybody is with everybody else. Cooper's touring band — Ryan Roxie, Tommy Henriksen, Nita Strauss, Chuck Garric, and Glen Sobel — are here in full force, ripping through songs with the confidence that comes from playing with one another night after night.
Cooper, too, is in fine voice. He has always had a raspiness to his delivery, which is used to especially good effect here. The song "100 Miles" addresses the end of the tour—and maybe the end of the line—for a nearly hoarse Cooper, who ruminates about having "no place at all to be" and "nobody yelling, 'Hey, man, it's time to go.'" The song suggests a more serious vein for Cooper to mine in future releases, one that would be entirely appropriate given his ouevre's morbid focus: impending mortality.
A highlight is "White Line Frankenstein," about a coked-up trucker. Rage Against the Machine's Tom Morello provides six-string lightning throughout.
"Baby Please Don't Go," an appealing ballad, reminds listeners of Cooper's softer side and wouldn't be out of place on FM rock radio today. A remake of "Road Rats" fits well with the road theme, as does a cover of "Magic Bus," which closes the album.
It all goes down easy and actually grew on me with each listen. Road does not travel along any interesting byways or take any intriguing detours, yet it barrels down the highway at a fast clip. Sometimes, that's enough.
I haven't had a chance to watch the blu-ray of 2022's Hellfest performance, included with the CD, but I suspect it will be a typically high-energy set. Alice seldom disappoints live.
Safe to say that if you've always liked Cooper— and particularly if you like the musicians who have been playing with him now for many years—you'll like Road. I give it a solid B.
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