ALICE COOPER IN SUMMERLAND: ZIPPER CATCHES SKIN BY DUSTIN RHODES

Released just eleven months after the Special Forces album, and the first to feature Dick Wagner on guitar in four years, 1982's Zipper Catches Skin is probably Alice's least serious sounding album. The early 80's were a difficult time for Alice. He had already fallen off the alcohol wagon, and he'd also began using drugs. This greatly reflected on the music, and the time was sometimes referred to as Alice's 'cocaine years. Alice and the band were said to have shared a crack pipe in between recording sessions, and hidden behind a large red curtain in the recording room.


He was ever changing his sound, look, and lyrical themes, but it still had that classic Alice touch. Even though Bob Ezrin hadn't produced an Alice Cooper album since 1977's Lace and Whiskey, evidence that Ezrin had helped Vincent Furnier develop his alter ego was still there. Ezrin would make his return just a year later on the strangest, emotionally unstable, and what I feel, the most brilliant album of Alice's career, DaDa. The only promotion for this album that I am aware of, is a television commercial, where we see Alice trying to use a public restroom urinal, and is being bombarded by news press about his releasing a new album. It's intentionally humorous, and really sets the mood for the the album's vibe. Though I can't honestly say it's one of my most beloved Alice Cooper records, Zipper Catches Skin is definitely entertaining, and does have tracks that I crave to hear. 


    The album's opener, "Zorro's Ascent," kicks off with Dick Wagner's unmistakable guitar sound, and a galloping snare drum. It immediately makes you feel as if you are riding horseback along side the masked Don Diego in the Spanish California sun. With his trusty rapier by his side, Alice assumes the role as the famous pulp character, Zorro. He takes you on a daring adventure of swashbuckling, Robin Hood-esque deeds, and romancing the local Spanish hembras. Musically, the track's arrangement is perfect. The mid-section breakdown executes with sly and sneaky guitar, as every note is a single stitch in Zorro's flowing cape. The background vocals bring back that familiar From the Inside feeling, and feature once again the talents of Flo & Eddie. Sound effects of wisping swords, and clicking guns also add to the essence, and feel of the song. Even after hearing this song countless times, I still crack a little smirk, and sometimes I just have to call out, "Cuz' I am the fox, and I go where I want!"


    The second track on the album is entitled "Make That Money (Scrooge's Song)." The track begins with powerful guitar chords, and Alice's very attitude driven vocals. The song is pretty straight forward, and is basically about a greedy man who only cares about money. Though Alice does well at feeding the attitude of the vocals, the music to this track is really what drives the song, and keeps it interesting.


    We enter the third track with the synthesizer drenched "I Am the Future," which was featured in the Canadian-American produced film, Class of 1984. The song was co-written by Lalo Schifrin, who had written several television themes and film scores, such as Mission Impossible, as well as the scores for the Dirty Harry films. It wasn't until some years later that I had an opportunity to see Class of 1984, but I was already a fan of it's sequel, Class of 1999. I'll admit, I've always loved this song. With some extra help from a lot of keyboards, and electronic drums, the song follows through with it's futuristic New Wave approach. Though the lyrics aren't really based on events of the film, I still associate the song with the film greatly. The arrangement is good, and the chorus is uplifting. If the film hadn't been ridiculously banned in so many countries for it's content, perhaps a music video would had been made, and the song would have gotten more exposure.


    "No Baloney Homosapiens," is about the possible existence of extra terrestrials, and if they invaded earth. If it wasn't for the humorous lyrics, this song would have sounded halfway serious. I really like some of the musical breakdowns in the track, and really showcases Wagner's guitar.

    "Adaptable" is very clever, and fun, and I actually think this would be a great rare track for Alice to throw onto a current live set list. The next few tracks are so-so, and intentionally run together. Musically, "I Like Girls" is very rock 'n roll, and lifts guitar riffs from a few unmentioned famous rock songs. It's somewhat sleazy, and mentions the countless affairs of a male gigolo. "Remarkably Insincere" borrows a few lyrical lines from the previous track, and before you know it, the song is over. Not that the two aforementioned tracks are necessarily awful songs, but not some of my favorites in the Alice Cooper catalogue. 
    In "Tag, You're It," think Alice Cooper makes a slasher flick. He directs multiple chase scenes through a house, and a girl named Debbie is the victim. He even mentions in the lyrics, that it's just like the scene in Halloween, and Debbie even stabs the killer in the ear with a knitting needle. I absolutely love this song, and it's one of my favorite tracks on the album. Coming in at just under three minutes, I would have loved if it had been a bit longer. If the song had been written for an album like From the Inside, we would have probably got a background story on the antagonist, and maybe even some long, drawn out, eerie instrumental part would have followed Debbie, or her victimizer to their death.


    "I Better Be Good" is what I feel, the weakest track on the album, and pretty much just a filler. When listening to this album on compact disc, it's not that I go out of my way to skip it, but it would never land on a self made compilation for sure.

    "I'm Alive (That Was the Day My Dead Pet Returned To Save My Life)" is another great track, and the last on the album. The title of the song automatically gives away the premise, but is fun and energetic. It's about a guy who finds himself in every danger. Whether dangling from a cliff, almost being hit by a large truck, or a showdown with local gang thugs, the ghosts of his dead pets return from the grave just in time to save his life. The song is funny, clever, and energetic. It was also the perfect song to end the album with.
    Alice Cooper fans are a different breed. You either get Alice, or you don't. I haven't met too many casual Alice Cooper fans, and when you talk Alice Cooper to someone that really knows his music, you really won't find many that don't like his strange, and unusual early 1980's material. Strange for Alice anyway, being more New Wave at this time. Although at least half of this album's tracks are quite humorous, and most Alice Cooper songs could be interpreted in many different ways, I feel this album is pretty straight forward in it's approach. It's simply just a fun record, and honestly sets up the next album DaDa, for a much different listening experience.

BIO: 
Dustin "Dusty" Rhodes is a musician who has been featured mainly performing on guitar in many musical acts, and playing various musical genres over the years. He currently records music in his home studio, and is planning future collaborations with local established artists. He is also a collector of film memorabilia, and is partial to classic horror cinema. 
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He resides with his family in Parkersburg, WV.