![]() Of course, at the top of the shock rock heap is the great Alice Cooper, but for as long as yours truly has been an admirer of his prolific 1971-1973 period (when Alice Cooper was an actual band, not a solo act), his high-gloss music and stage shows of the mid to late-’70s, his late-’80s resurgence, and his remarkable longevity today, there’s always been one small gap in Coop’s career that I’ve misunderstood since my teens, a three year period at the start of the ’80s in which Alice desperately attempted to reinvent his persona and music, only to be critically savaged, virtually ignored by mainstream audiences, and declared passé by us kids at the time. ![]() Unlike the patently humorless Marilyn Manson, good shock rock cranks the pure fun of heavy music to complete excess, and no matter how old you get, seeing a gigantic latex cave troll named Bonecrusher mercilessly devour someone onstage somehow never gets tiresome. Hell, even if GWAR is incapable of writing a good song (which, to be frank, is often), I can never miss watching them bleed and spew on hundreds of adoring young sickos. Whether going back to the early days of the Crazy World of Arthur Brown, the ’80s shtick of W.A.S.P., Twisted Sister, and the woefully underrated Lizzy Borden, White Zombie in the ’90s, and lest we forget, the indefatigable KISS, that marriage of hard rock/metal with flash and theatrics, has never failed to draw my interest. It’s cartoonish, completely over the top, and primarily geared towards boys in their early teens, but even today, I’m always a total sucker for some good, old fashioned shock rock. ![]() Like any other music fan, my musical tastes have grown over time, but for the last 26 years one genre in particular has always lurked in a small corner of my subconscious. ![]()
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