Richard Wagner - Selftitled (1978)

(U.S 1964 - 2014)

Chances are that you’re familiar with guitarist and songwriter Richard 'Dick' Wagner’s talents even if you don’t recognize his name. As frontman for the mid-to-late 1960s Motor City hard rock outfit 'Frost', Wagner was a contemporary of such legends as the MC5, the Stooges, Bob Seger, and Ted Nugent and the Amboy Dukes. After Frost had run its course, Wagner formed the power trio Ursa Major (with former Amboy Dukes bassist Greg Arama). That band’s lone Bob Ezrin-produced their 1972 magnum opus, a magnificent beast of shimmering, buzzing guitarwork, explosive rhythms, and Wagner’s wordy, Dylan like lyrics; but went absolutely nowhere on the charts.

Although Ursa Major’s self-titled LP flopped and the band broke-up, Wagner developed a friendship with their young producer and Ezrin – fresh off a hit with Alice Cooper’s 'School’s Out' album. Ezrin would eventually use Wagner as his secret weapon in the studio. The guitarist would record and tour with Cooper throughout his initial solo years and well into the 1980s, writing hits like “Only Women Bleed” and “I Never Cry.”

Ezrin then partnered Wagner and fellow Detroit guitarist Steve Hunter with Lou Reed, the pair bringing lightning to Reed's 'Berlin' and thunder to the live 'Rock N’ Roll Animal'albums. Wagner would later play on sessions (and hits) by Etta James, Peter Gabriel, Hall & Oates, and Kiss (playing acoustic guitar on “Beth”). It was the dueling guitars of Wagner and Hunter that set fire to Aerosmith’s “Train Kept A-Rollin’,” from the band’s 'Get Your Wings'.

Solo Debut Album
Given their friendship and strong working relationship, it was therefore only natural that Ezrin would produce Wagner’s 1978 solo debut album. Both men pulled names from their extensive artist connections, lining up a talented studio band for the project that included guitarists Steve Hunter and Domenic Trioano (from the James Gang); bassists Prakash John (Parliament/Funkadelic) and Bob Babbitt; and drummers Whitey Glan and Allan Schwartzberg. Considering Wagner’s hard rock credentials, his solo debut comes across – at first spin – as a relatively lightweight affair; kind of like a boxer dropping pounds to punch down in a lower weight class. That doesn’t make it a bad album, just an unexpected cruiserweight effort, with a greater reliance on melody and songcraft than previous, which would serve Wagner’s songwriting efforts well in the future.

Dick Wagner (Alice Cooper Tour)

The album opens with a cover of Andy Pratt’s elegant “Some Things Go On Forever,” a piano-driven ballad that manages to channel a bit of the old Ursa Major magic nonetheless with intertwined guitars and beefy rhythms. “Don’t Stop The Music” is a similar construct, albeit a Wagner original, and it treads awfully close to Gary Wright's “Dreamweaver” turf with a chiffon arrangement, ethereal instrumentation, floating vocals, and Ernie Watt’s wired jazz-funk sax solo playing off of Wagner’s soulful fretwork. The song itself is an ode to rock ‘n’ roll and the DJs playing it on the radio, lyrically concealing a deceptive romantic undercurrent.

Don't forget ya guitar Richard

“Nightwork” echoes Wagner’s late-career return to the blues, the song a hard-luck tale turned smooth R&B romp with sultry backing vocals and subtle horn flourishes. It’s Wagner’s fluid guitarplay that stands out, though, driving the performance into a more soulful corner, the guitarist mixing scraps of Ernie Isley, George Benson, and Sly Stone in creating his own bluesy, funky contemporary edge. By contrast, “Heartlands” comes across as a country-flavored symphony with acoustic string plucking and a folkish lyrical slant with Wagner’s plaintive vocals up front and high in the mix, wearing his sentiment on his sleeve before the entire band kicks in and swerves the entire affair into the melancholy-tinged “Oceans.”

With a little louder guitars and a tougher arrangement, I could easily see “Oceans” as an Ursa Major jam. It’s more nuanced here, though, with swelling, lush instrumentation; obligatory whale cries in the background (it was the late 1970s, after all…); and some prog-rock styled playing that wouldn’t sound out-of-place on a Pink Floyd album. “Go Down Together” is the album’s foot-stomper, Wagner’s opening solo knocking down anything Ted Nugent tried to do during the decade. An up-tempo six-string rocker with honky-tonk piano, strident rhythms, and sizzling fretwork, it’s one of Wagner’s finest rock ‘n’ roll moments with a great storyline and an overall vibe that could have made it a big hit if FM radio hadn’t gone all wussy and corporate by ’78.

Swerving the listener once again, “Small Town Boy” is nifty slice of pop-rock fluff with island rhythms similar to those of Pablo Cruise and is probably the most radio-friendly tune on the album. Wagner takes his cue from Nashville with the country-rock tune “Hand Me Down Heartaches,” a lovely melody surrounding finely-crafted lyrics and backed by the slightest of twangy instrumentation that works mostly because of Wagner’s earnest, emotionally-charged vocals.

Wagner closes his solo debut with the grandiloquent “Motor City Showdown,” a street-savvy medium-tempo soft-rocker just a step away from Jim Steinman with its swells of orchestration surrounding and coddling Wagner’s oblique ‘Sharks vs. Jets’ story-song lyrics. It’s a strange but effective song to end the album with, veering dangerously close to the prog-rock edge in its ambition but with an undeniable singer/songwriter veneer lying close to the surface. It’s a gorgeous performance, and the musicians imbue it with a sort of majesty and grandeur that’s out-of-sync with contemporary rock sounds (circa 1978). Appropriately, Wagner’s searing guitar solo on his trusty Mockingbird guitar is threaded through the outro, ending the album with a quiet dignity.

CD Reissue cover with name change

Unfortunately, the album sold poorly in spite of the guitarist’s reputation – probably due to Atlantic Records’ enormous blunder of naming the disc Richard Wagner (rather than Dick Wagner, the name by which he performed), which allegedly confused record stores into stocking it in the classical music section with Richard Wagner, the German composer, theatre director, essayist, and conductor, best known for his operas. With the albums reissue on CD in 2014, Real Gone Music has corrected this mistake and re-titled the album 'Dick Wagner'.

Decidedly less blustery than much of Wagner’s earlier band work, his never less than stellar guitar playing provides the steely muscle rippling beneath the surface of many of the album’s songs. Dick Wagner is definitely an album of its time, and yet also curiously out-of-step with late ‘70s trends in rock music, which just further spotlights Wagner’s unique vision and talents. If you’re not expecting the second coming of Frost or a sequel to Rock N Roll Animal, you’ll find a lot to like among the lofty pop-rock tunes to be found on Dick Wagner. [extract from The Reverend's Rock 'n' Roll Archives]

This post consists of FLACs freshly ripped from my near mint vinyl (purchased from Reading Records in Carlton, Melbourne back in the late 70's) and includes full album artwork for both CD and vinyl, and label scans.  Although I enjoy listening to this album, I have always compared it to Dick's co-guitarist Steve Hunter's solo album 'Swept Away', released the year before (see my post), which I actually enjoy listening to more. Interestingly enough Hunter plays rhythm guitar on Wagner's album however Wagner didn't play on Hunter's album, although Bob Ezrin did, playing keyboards. Go figure.

Track Listing:

A1 Some Things Go On Forever*   3:37

A2 Don't Stop The Music 5:44

A3 Nightwork 4:34

A4 Heartlands 1:38

A5 Oceans 5:30

B1 Go Down Together 4:07

B2 Small Town Boy 4:21

B3 Hand Me Down Heartaches 5:11

B4 Motor City Showdown 6:19

All tracks written by Richard Wagner except *Andy Pratt

Band Credits:

Backing Vocals – Brooks Hunnicutt, Laurel Massé, Lisa Roberts, 

Bass – Bob Babbitt, Prakash John

Drums – Allan Schwartzberg, Whitey Glan

Guitar – Domenic Troiano, Steve Hunter

Keyboards – Bob Ezrin, Dave Tyson*, Fred Mandel, Paul Griffin, Phil Aaberg*

Lead Vocals, Guitar, Soloist [All Guitar Solos], Backing Vocals – Richard Wagner*

Percussion – Jim Maelen*

Modern Folk Quartet*, Tony Kosinec

Saxophone [solo] – Ernie Watts (tracks: A2)

Producer, Engineer, Mixed By [Remix] – Bob Ezrin & Brian Christian

Orchestrations – Allan Macmillan, Bob Ezrin

Richard Wagner Link (214Mb)

Steve Hunter - Swept Away (1977)

(U.S 1971 - Present)

Steve "The Deacon" Hunter, born 1948 in Decatur, Illinois, is an American guitarist best known for his collaborations with Lou Reed and Alice Cooper. He first played with Mitch Ryder's Detroit, beginning a long association with record producer Bob Ezrin.

In the 1970s, he appeared on five Alice Cooper albums, four of which were produced by Ezrin. In 1973, he was on the final two albums recorded by the Alice Cooper group, Billion Dollar Babies and Muscle of Love.

When Alice Cooper became a solo artist, Hunter followed and appeared on the 1975 groundbreaking album and live show Welcome to My Nightmare alongside guitarist Dick Wagner, with whom Hunter had already formed a formidable guitar team, as can be heard on the Lou Reed live album Rock 'n' Roll Animal and further demonstrated on the film 'Welcome To My Nightmare', released on home video in 1976 featuring the celebrated guitar battle between Hunter and Wagner that formed part of the Alice Cooper 1975 live show.

Steve Hunter & Dick Wagner with Alice Cooper

 He and Wagner also played on Peter Gabriel's self-titled first solo album, which was likewise produced by Ezrin, in 1976.

The following year, Ezrin produced and played on Hunter's solo album 'Swept Away'. It is predominantly instrumental and a guitar show.

His first collaboration with Lou Reed was for the Berlin album. He also played in the live band captured on Reed's live albums, the aforementioned Rock 'n' Roll Animal and Lou Reed Live. 

Steve Hunter with Lou Reed

Other artists Hunter has worked with include David Lee Roth (in the mid-1990s), and Tracy Chapman. He also contributed music to and is featured on the soundtrack of the film "The Rose", starring Bette Midler.

A documentary about the guitar partnership of Hunter and Wagner entitled Rock 'n' Roll Animals is currently available HERE.

Welcome To My Nightmare Credits

Album Review

After the 'Welcome To My Nightmare' tour Steve Hunter released his debut solo album "Swept Away." The album was recorded over a two year period whilst Steve toured with Alice Cooper. In Toronto on Aug 18-28, Oct 24-29, Nov 24-28 in 1976. Then in L.A. on Dec 17-19 in 1976 and Jan 8-10 1977. Released on the Atlantic label, it was produced by Rob Ezrin who also produced Alice's Welcome To My Nighmare album.

Hunter's backing band was pretty much the same people who work on 'Welcome To My Nighmare' and 'Go To Hell' albums. Steve Hunter on all guitars and vocals, Prakash John on bass, Jim Gordon on drums and Bob Ezrin on keyboards, percussion, and vocals. In fact, Bob Ezrin actually produced this album along with Brian Christian. Some other guest artists include Jim Malen on percussion and Jozef Chirowski plays Fender Rhodes on "Eldorado Street".

Steve covers an instrumental version of "Eight Miles High" by The Byrds which is amazing and I particularly like the drums by Jim Gordon. Another cover is "Sail On Sailor" (a Beach Boys song), a huge favourite of mine which I first heard on the Beach Boy's double live album. Steve's cover of the song is both controlled and impressive.

I also like "Sea Sonata" and "Deep Blue" which close the album and were written by Hunter.

My only criticism of the album is the short opener on side 2 "Jasper...Rag" which sounds like it has a timing issue (maybe it was done on purpose) but it doesn't really sound great.

Nevertheless, Hunter shows off his guitar work on this album and demonstrates a wide range of skill sets both on acoustic and electric guitar. Overall, the album has a predominantly laid back sound and with the help of the picture on the cover, it reminds me of being on a tropical island, and hence the title "Swept Away".

This post consists of FLACs ripped from my near mint vinyl which I purchased from the Melbourne University Bookstore back in 1977, during my Uni years.  Strangely enough, they tended to stock the more 'non- commercial' releases, and Steve's debut album was one of them. I was already familar with the brilliant guitar work by Hunter and Wagner through 'Rock And Roll Animal Live'  and was therefore drawn to this album when I spotted it in the racks, along with it's eye catching cover.

Full album artwork and label scans are also included. 

 

If you haven't heard this album, then I guarantee you will be drawn in immediately with the opening track. The rest of the album is just icing on the cake.

Track Listing

01   Eight Miles High [Byrds]  5:02

02   Eldorado Street  4:59

03   Goin' Down [traditional]  2:33

04   Rubber Man  2:53

05   Of All Times To Leave  1:42

06   Jasper St. Viaduct Gitar Rag  1:44

07   Sail On Sailor [Beach Boys]  4:29

08   Swept Away  4:33

09   Sea Sonata  4:54

10   Deep Blue  2:56

Band Members:

Steve Hunter - guitars, vocalBob Ezrin - keyboards, vocals, percussion

Jozef Chirowski - piano Fender Rhodes

Carol Pope, Joanne Brooks, Tony D'Amico - backing vocal

Prakash John (Parliament) - bass

Jim Gordon (Derek & The Dominos) - drums

Jim Maelen - percussion

Steve Hunter Link (198Mb)

Alice Cooper - The Alice Cooper Show (1977)

 (U.S 1964 - Present)

His first live album, 'The Alice Cooper Show' (1977) was recorded with previous members Steve Hunter & Dick Wagner, (who had played on Lou Reed’s brilliant live album, 'Rock N Roll Animal), John Prakash and two new members Fred Mandel and Penti Glan.

While they bring top-notch musicianship to the 11 tracks included here (two of which are medleys, so a total of 13 songs were performed) and everything is delivered professionally, it’s lacking a certain punch…especially on the 7 songs first recorded by the original Alice Cooper Band. 

While there are no particular standout tracks, it was nice to hear earlier songs like “Under My Wheels,” “I’m Eighteen,” “Is It My Body” and “Billion Dollar Babies.” I know when it comes to an Alice Cooper concert that the music is only part of the appeal, and although it’s a pleasant listen one can't help thinking that there's something missing: the visual aspect of the show.

'The Alice Cooper Show’ was recorded live on August 19th – 20th 1977 at The Aladdin Hotel, Las Vegas, USA, during Cooper’s ‘King Of The Silver Screen’ tour (‘King Of The Sliver Screen’ is a track from the preceding ‘Lace And Whiskey’ album). 

Released in December 1977 on the Warner Brothers label, the record was produced by Brian Christian and Bob Ezrin and clocks in at a compact 39 minutes and 38 seconds. It wasn’t a huge commercial success, reaching only number 131 on the 1978 Billboard chart, but is a fantastic atmospheric record capturing some of the energy and charisma of Alice Cooper, featuring some of the best songs from the album’s which preceded the tour.

I should also point out that by the 1977 tour, Cooper was in dire need of help with alcoholism (at the peak of the disease, the Coop was downing two cases of Bud and a bottle of whiskey a day). After the tour was over, Alice had himself hospitalised in a sanatorium, leading to the writing of next album ‘From The Inside’. 

Alice has said that he won’t listen to ‘The Alice Cooper Show’ album because it reminds him of the period when the demon drink was killing him…

Bassist Dennis Dunaway describes Alice’s late night routine:   ”He couldn’t go to bed unless he made sure he had a beer sitting next to the bed , because that was the first thing that he did in the morning…”

Alice remembers: ”Before I opened my eyes, I’d have three or four hits of beer and then I’d wake up, turn on the cartoons and then throw up. It’s okay, I’m ready for the day…Let’s go!”

The Show

The full setlist for the tour also included ‘Unfinished Sweet’ (from ‘Billion Dollar Babies’), ‘Escape’ (from ‘Welcome To My Nightmare’) and ‘It’s Hot Tonight’, ‘Lace and Whiskey’ and ‘King of the Silver Screen’ (from the ‘Lace And Whiskey’ album),  which are not included on this release.

Axe-chopping of bloodied baby dolls, execution by hanging at the gallows, an androgynous stage persona wrapped in snakes (usually boa constrictors) – all part of the Alice Cooper stage act…A new addition to the show at this time was an eight-foot tall furry Cyclops, which the Coop decapitated and killed!

Alice taunting the 8 Foot tall Cyclops

Alice describes his stage persona: “When I assume the character, I have no idea what it’s gonna do, because it’s not me!”

Interviewed on ‘Kidsworld’ in 1977, A young Alice without makeup, dressed in white vest and jeans, describes the tour:

”This show that we’re doing now is about three months of rehearsals, eight or nine hours a day. Our show is a total spoof on TV. It’s a rock…it’s like a rock opera kinda thing…but I mean the whole stage looks like a television set…and we have commercials, and it’s all done to rock music and everything…it’s the first real attempt at rock theatre that really works…”

The ‘show’ starts with huge audience reaction, frantic telephone ringing and the build-up of the band, an intro for up-tempo rocker, opener to the ‘Killer’ album ‘Under My Wheels’, a perfect mood-setter…’

Love It To Death’’s expression of teenage angst ‘I’m Eighteen’ is next, then a great sequence – the psycho-sickness of ‘Sick Things’ (as Alice would have it – this could only be a Cooper track), from the snakeskin-wrapped ‘Billion Dollar Babies’ album, then the rocker ‘Is It My Body’ and a slow number ‘I Never Cry’.

The familiar drum riffs introduce the amazing title track from ‘Billion Dollar Babies’ – an enjoyable rendition with Alice handling all vocal duties, unlike, of course, the stunning original hit recording, which featured mystical singer-songwriter Donovan.

In a recent interview, Donovan cast his mind back to London, 1973:

"Alice was downstairs and I was upstairs in Morgan studios when he was doing ‘Billion Dollar Babies’ and he came in and said hello, and I went down and said hello to him, and I had heard this track and he said ‘Do you want to put a vocal on it?’ I said ‘sure’ but there’s…so big and so bouncy and so loud, I think I’m gonna have to get into a falsetto (sings ‘Billion Dollar Babies’ high part) so I did that. Nobody believed it was me, then it went to number one, didn’t it…so me and Alice are fast friends now!”

Alice remembers in a recent interview:

”The first time I met Donovan, we were recording ‘Billion Dollar Babies’ at Morgan Studios and we realised that we needed a British voice that was going to mimic my voice and I said ‘Who’s here in the studio?’ and they said ‘Donovan’s next door’ and I went ‘Oh, this’ll be great!’ ‘cause he’s got that great British voice you know, and I went into the studio, walked right into the studio and he was doing something and I said ‘Donovan, I’m Alice Cooper’…’Oh, Hi..’ and I said ‘C’mon’…’What?’…I said ‘It’s time to sing rock’n’roll…” 

He did the talking part (adopts ‘British’ accent) ‘we go dancing nightly in the attic in the…’ He had so much fun doing that song, and then I said ‘now you gotta sing it and I’ll do the talking, you know’…That record went right to number one…It’s really fun to have Donovan on that. I like the idea of taking somebody out of their comfort zone and putting them in a place where they didn’t normally go to, you know. And since then, every time we see each other, we always talk about that thing…”

A cut-down version of ‘Devil’s Food’ from ‘Welcome To My Nightmare’ is an intro to ‘Black Widow’. Another first for Alice was hiring the theatrical talents of Vincent Price to narrate on a rock track – eight years before Michael Jackson’s extended video for ‘Thriller’ (with Price voiceover in the ‘graveyard’ section) – the famous horror actor speaks the monologue at the beginning of the song as ‘The spirit of the nightmare’ in which Cooper is trapped, for the mini-movie ‘Alice Cooper: Welcome To My Nightmare’. 

Brilliant in its conception, the narration casts Price as a museum curator, describing the live ‘exhibits’ in the arachnid section, The recorded narration became a feature of Cooper’s live shows, after which Alice exclaims:

”These words he speaks are true
We’re all humanary stew
If we don’t pledge allegiance to…
The Black Widow!’ (in this rare case, a male of the arachnid species…)

There are three ballads on this live album, all co-written by Alice and Dick Wagner, and beautifully crafted songs they are, evidencing the sensitive lyrical side of the man:

"Only Women Bleed", from ‘Welcome To My Nightmare’, also a hit for British actress/singer Julie Covington in 1977, is a classic, but quite dark in its subject matter, dealing with a husband’s overpowering of his wife, leading to domestic violence.

"I Never Cry" from the ‘Alice Cooper Goes To Hell’ album is a tear jerker and there’s more than a touch of autobiography about it, if you listen to the lyrics carefully.

"You And Me" was the single from ‘Lace And Whiskey’. On stage, Alice sings "You And Me" to a mannequin (in some ‘70s shows, his wife Sheryl), at first looking into her eyes, then dragging ‘her’ over his shoulder by the hair, holding her up by the hair, then throwing ‘her’ across the stage (in a fit of faked domestic violence?).   I don't think this segment would go down well in current day concerts!

The live versions are spirited and sound great, although obviously not as polished and produced as the studio recordings. They do work very well in breaking up the set of rock and upbeat funkier tracks.

The medley ‘I Love The Dead’ (Alice’s homage to his necrophilia, as only he can do), ‘Go To Hell’ (Alice telling himself off for his misdemeanor's over a funk backbeat) and ‘Wish You Were Here’ (instrumental sections of the track only) works well as a set closer…

Of course, the ‘night’ ends with the encore ‘School’s Out’! delivering the lines in his trademark snarl and wagging his finger at the delirious audience… ”Well we got no class, and we got no principles, we ain’t got no intelligence, we can’t even think of a word that rhymes!” [Extract from eddiesrockmusic.wordpress.com]

Australian Tour

Australia was lucky enough to witness the beginnings of the Alice Cooper Show, when Copper's band toured Down Under in March of 1977. At the time it was billed as 'Welcome To My Nightmare - The Alice Cooper Show'.

They played at all major capital cities in Australia, including four concerts in Melbourne, at Festival Hall on March, 21st - 24th.  I was lucky enough to see the show at Festival Hall, but can't for the life of me remember which of the 4 dates it was and much of the concert is a vague memory. As I was attending my first year at Uni at the time, I suspect my brain cells were somewhat impaired on the night by too many beers and perhaps other recreational substances! 

Australian Tour Dates:

(1977 March)

14: Australia - Entertainment Centre, Perth

15: Australia - Entertainment Centre, Perth

18: Australia - Westlakes Football Stadium, Adelaide

21: Australia - Festival Hall, Melbourne

22: Australia - Festival Hall, Melbourne

23: Australia - Festival Hall, Melbourne

(Apparently there is an Audio Recording in circulation)

24: Australia - Festival Hall, Melbourne

26: Australia - Showground Arena, Sydney (40,000 people were in attendance, breaking the Australian record at this time)

29: Australia - Festival Hall, Brisbane

30: Australia - Festival Hall, Brisbane

31: Australia - Festival Hall, Brisbane

Thanks to alicecooperechive.com for the above Australian Dates and Press Release document

This post consists of FLACS ripped from CD and comes with full album artwork for both vinyl and CD media, plus label scans.  My original intention for this post was to provide a vinyl rip, rather than a CD rip. However, I was not happy with the quality of the recording that was coming from my vinyl, in comparison with that from CD media.  The left channel on my vinyl was significantly softer and less vibrant than that of the right channel and consequently decided to ditch this inferior recording.  I suspect the pressing or mastering on my vinyl copy is poor compared to the newer release on CD, and so am providing it instead.  I'd be interested in hearing if others have experienced this, if they own the vinyl.

Thanks to sickthingsuk.co.uk for the Alice Cooper Show posters, ticket stubs, adverts featured in this post.

One reason why I purchased this album back in the late 70's was because it featured guitarists "Steve Hunter' and 'Dick Wagner" (see left) , who I admired at the time, stemming from their past association with Lou Reed.  I do remember being really disappointed with the sound quality of the guitar work when I heard this record for the first time, probably a consequence of the inferior pressing/mastering of the LP. 

This appears to have been partly rectified on CD releases.

Track Listing:

01 Under My Wheels 2:30

02 Eighteen 4:58

03 Only Women Bleed 5:47

04 Sick Things 1:01

05 Is It My Body 2:28

06 I Never Cry 2:51

07 Billion Dollar Babies  3:13

08 Devil's Food / The Black Widow  5:41

09 You And Me 2:19

10 I Love The Dead / Go To Hell / Wish You Were Here 6:31

11 School's Out 2:19

Tracks:

from ‘Love It To Death’: 2, 5

from ‘Killer’: 1

from ‘Schools Out’: 11

from ‘Billion Dollar Babies’: 4, 7, 10a

from ‘Welcome To My Nightmare’: 3, 8

from ‘Alice Cooper Goes To Hell’: 6, 10b, 10c

from ‘Lace And Whiskey’: 9

Alice Cooper: vocals

Steve Hunter: guitar

Dick Wagner: guitar, vocals

Prakash John: bass, vocals

Fred Mandel: keyboards

Pentti ‘Whitey’ Glan: drums

Alice Cooper Show Link (251Mb)