From The Inside Review

artist: Alice Cooper date: 06/15/2015 category: compact discs
Alice Cooper: From The Inside
Release Date: 1978
Genres: Hard Rock, Heavy Metal
Label: Metal Blade
Number Of Tracks: 10
Sometimes, this introspective effort is too self-indulgent and intellectual for its own good, but at its best, From the Inside is as riveting as it in inspiring.
 Sound: 7
 Lyrics: 8.5
 Overall Impression: 7.5
 Overall rating:
 8.5 
 Reviewer rating:
 7.7 
 Users rating:
 9.2 
 Votes:
 11 
 Views:
 609 
reviews (2) 4 comments vote for this album:
overall: 6.7
From The Inside Reviewed by: Just_Chaz, on january 31, 2007
1 of 1 people found this review helpful

Sound: This album was recorded in 1978, almost immediated after Alice cooper came out of alcohol rehabilitation. As you can imagine the album is based on and dedicated to the people he met in rehab and the things he felt in rehab. Musically this album has a real class about it, however unfortunately it loses a lot of it's musical credibility by the ammount of early synth music used to create it. However what the song loses in the ammount of synth it gains in the insanity of the songs and the lyrics and the passion put into it. Some of the songs I personally think lack excitement and seem rather empty from time to time, some sound like alice has lost the plot all together, however towards the end of the album he brings back the qualities alice cooper is known for, the sinister and romantic "millie and billie", the "Hyperactive" serious and the chilling yet exciting "Inmates (We're All Crazy)". This album is very dynamic and glides effortlessly between chilling and exciting, although I personally reckon this album has dated more than his earlier albums. // 6

Lyrics: All the songs on this album are stories 'from the inside'. what I like the most about how he has written the album is the fact that he takes these dark and somewhat shocking lyrics and makes them sound so innocent and beautiful. This album isnt quite as exciting as some of the others but is definately just as crazy. There is something of an openness and honesty about this album too, you can almost feel the fact that he's just come out of rehab, you can feel his confessions and his pains in the lyrics, even though they are initially about people he has met, he has definately put something of himself in there too. // 7

Overall Impression: This album is fairly good, though the ammount of synth used ruins it for me in my opinion. The album has been mixed to make all the songs come together and compliment eachother nicely. The best song on it for me is the final song "Inmates (We're All Crazy)," it has an incredible dynamic to it in the fact that it starts out as alice cooper singing an innocent little song about murder and arson, then gradually as the song progresses all the crazy people start to come out and sing "We're All Crazy" over and over getting loud and louder and the crazy people coming out more and more, I can just imagine an entire asylum of lunatics escaping getting ready to wreak havoc on the nearest person dressed in a white cloak. However the album does definately sound more dated than practically all of his other albums. If you hate synth, don't by this album, unless you truly love Alice Cooper. // 7

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overall: 8.7
From The Inside Reviewed by: michaeljscully, on june 15, 2015
1 of 1 people found this review helpful

Sound: Overall the instrumentation shines due to new blood in the Alice Cooper monster - namely guitarist Davey Johnstone and bassist Dee Murray, fresh off a stint in Elton John's band. "From the Inside," "Wish I Were Born In Beverly Hills," and "For Veronica's Sake" are particular highlights. While at times it does sound dated due to over-use of glam-rock inspired synthesizers and vocal harmonies, it translates quite well to more stripped-down modern rock and several songs have since become staples of Alice's live shows. // 8

Lyrics: The lyrics on this album feature a much more intimate profile of the man called Alice than many of his previous albums. As always, the lyrics are presented with a wink and a nudge, but you can frequently hear how personal they are to him, particularly on "How You Gonna See Me Now" and "The Quiet Room." This is in no small part due to the contributions of Elton John's frequent lyrics collaborator Bernie Taupin, who co-wrote lyrics on this album.

It seems at times like Alice is trying to write about a deeply personal experience, having just been released from a mental institution to treat his alcoholism, but at the same time is trying to de-personalize it. Other artists would treat the subject with complete sincerity, but as always Alice is an entertainer first. // 10

Overall Impression: Alice Cooper's 1978 album "From the Inside" is remarkable not only for its concept and production, but for the combination of some of the two biggest bands of the late 1970s - that of Alice Cooper and Elton John.

There is a dramatic improvement in musicality and lyricism over some previous efforts which may be attributed to the infusion of fresh blood into the Alice Cooper monster - namely songwriter Bernie Taupin, guitarist Davey Johnstone, and bassist Dee Murray. Former collaborators of Elton John's, they bring an excitement and energy to the album that bolsters the outrageous lyrics while allowing Alice to maintain his own personal voice.

While some of the makeup-smeared arena rock sheen may not have aged gracefully, there are a number of tracks whose hooks and lyrics encourage the listen to give it another spin. "Serious," co-written by Toto guitarist Steve Lukather, features a chorus that just refuses to leave the listener's head once heard.

"Wish I Were Born in Beverly Hills," a concert staple, satirizes the stereotypical vapid Hollywood lifestyle in typical Alice Cooper fashion - it's the story of a failed actress who loses her mind one day in Cartier. It's this similar lifestyle that Bret Easton Ellis would later go on to write about in his first novel, "Less Than Zero."

"How You Gonna See Me Now" gives the listener a more personal look into his mind than any previous Cooper ballad, with a sincerity and emotion that suggests that the story told is less a fiction than a recollection of his own reunion with his wife after a stay in a mental institution.

While this album does give into the over the top "more is more" production philosophy frequently seen in mainstream rock during the late '70s, often it serves to accentuate the unstable mental state of the songs' protagonists. My recommendation: turn out the lights and spin this record from beginning to end. The experience is worth it. // 8

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