Alice Cooper Quotes

The hippies wanted peace and love. We wanted Ferraris, blondes and switchblades.

He didn't get the feeling that we wanted - nothing on him, but he wasn't on the same trip.

He started to, but we said we weren't happy with the feelings we got off the cut... the album now is more us than the other production that Frank did.

I appreciate an audience that reacts to the music, even if they jump on stage and try to beat us up, I think that's a fantastic reaction. I think that they're really hearing something then.

If it's total freedom, I guess the ultimate thing you can go into is total silence between the audience and performer, with the performer projecting something he doesn't even have to play.

If you confine it, you're confining a whole thing. If you make it spontaneous, so that anything can happen, like we don't want to confine or restrict anything. What we can do, whatever we can let happen, you just let it happen.

Is everybody that depressed? It's a depressing feeling to me. You know: "I lost my baby." I don't care if you lost your baby, I care if you're feeling OK. Don't tell me your problem - tell me what good's been happening to you.

It's a big flash of all these things and whatever you take out of that statement's one statement, one mind, one statement, one act, one show, and all the songs are one.

It's Frank's painting on the cover. We were originally going to use a Salvador Dali painting that we got permission from Salvador Dali to use, and Frank found this one, and it really did fit the music much more.

It's like this - these five members have been influenced of course by other groups, because that's where this generation's groups came from - an environment like the Beatles, the Rolling Stones, the Yardbirds, and The Who. People like that.

People that haven't seen us yet are shocked because they think that Alice Cooper must be a female folksinger. They don't expect the whole thing.

So what this is is us, our personalities refined down on to a stage performance. In other words, the way we play is the end product of the way we live - we live in the cities, you see.

That was very close to getting killed. Usually at pop festivals we have people jumping on stage.

That's like making fun of a maniac because his brain isn't completely right, because he isn't in the norm.

That's where their heart is from the sex and violence of TV and the movies, and that was our influence. We weren't brought up under a blues influence.

They coincide with each other but they don't at the same time. So what it is, is when people come to see us the first time, they see this.

They pick all of us out, and then they decide, they computerize, decide if they like it or don't like it, and then they go home, and then they come back again because they're not sure what they saw.

They're reacting and that's wonderful. It's better than them sitting there doing nothing. I say make them react - do whatever's in your power to move the audience, and if that's where it is, and there where it is with America, sex and violence, then I say project it.

We can only take it so far, because man can only take it so far, lower self can only take it so far, and you have to realize that the public is only at a certain place.

We don't mind that, that's making them accept more, making fun that we accept that. The thing is this is the way we are. We think it's a gas.

We had Hell's Angels jump on stage before. At a pop concert in Michigan, which was infested by bikers - I like bikers and I'm not saying anything against them - but they were there in full force.

We identified with Frank. We were of course influenced - when everybody hears Zappa, they're influenced by him, just like The Beatles.

We like reactions - a reaction is walking out on us, a reaction is throwing tomatoes at the stage, that's a healthy psychological reaction.

We started combining the use of light and the use of theatrics and the use of as many art forms as possible, and it's still growing - that's the whole idea of it.

We take that subconscious power and put it on stage because you play what you're influenced by. I'm sure that blues-influenced people live the blues - real blues people.

We understood that there was someone thinking the same way and so when we got together with him it worked perfectly.

We'd like to take a symphony orchestra and have them do such songs on the album as "10 Minutes Before the Worm" and "B.B. on Mars", and these songs are like packages, a full song compressed into one minute, sixty seconds of complete changes that all fit together, but not at the same time.

We're tired of that and we won't accept that, we won't accept the blues except certain blues people that are real blues people.

Well, all of it is a freak thing, because it doesn't coincide with what the normal person thinks of the normal city.

Well, we were all in high school and we got together, and in college - we were in art college together.

When we get together and rehearse, which is always living with each other, we always talk about what would make it better, what would mean more, what would say more. So we're always improving and growing.

You can't get the visual thing on the record as much as you'd like to. We produced this album, and we'd never done that before, except when we produced singles for ourselves.

You just let your lower self go, and then it takes on all these aspects of the society - the city with horns blowing, the people yelling things at each other, and the all-in-all violence and chaos of the city. Put that on stage with music, and that's what this is.