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3.1 out of 5 stars15
3.1 out of 5 stars
Format: Audio CDChange
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4 of 4 people found the following review helpful
on 6 December 2001
This album is a definite detraction from what we have come to expect from Alice Cooper. No real concept here just a collection of lightweight pop songs. Clones is very good offering a techno style with keyboards to the fore. Pain is a bit of a throwback to his earlier style and is also a very good song. Talk talk and headlines are guitar based pop and quite good as is Grim facts. The rest of the album is pretty forgettable.
Another downside of this album is the short running time. Does not really feel like a value for money package !!
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2 of 2 people found the following review helpful
on 14 May 2011
Alice's 1980 effort is too often unfairly maligned. In an era where the rockers of the 70s had to contend with the rise of the synthesizer-heavy new wave style, hot on the heels of the 3 minute snarl of punk rock, few managed to hold their own. Taking inspiration from Gary Numan and The Cars, Alice was an unlikely contender to succeed, but succeed he did. `Flush the Fashion' takes a whole lot of his earlier garage rock posturing and lyrical leanings and packages them up in a fusion of rock, pop and synth new wave. In typical Cooper style, he didn't take the change in fashion lying down. Alcohol might kill him, but synthesizers certainly wouldn't!

After his 1975 masterpiece, `Welcome to My Nightmare', Alice saw the second half of the 70s out with a pretty lack lustre trio of albums, complete with a catalogue of safe, well-written, middle of the road hit singles. A spanner in the works was required. Evidently, new wave provided it, producing this, his most ambitious and interesting set in years. And he was helped along the way in an unlikely partnership with Queen/ The Cars producer, Roy Thomas Baker.

Despite an effervescent sheen, `Flush the Fashion' is deceptively dark in tone. Of course it is mostly delivered with the, by then, characteristic tongue-in-cheek wink. The set kicks off with a cover of 60s L.A. band, The Music Machine's `Talk Talk'. It's an angry and rebellious little ditty that serves as a sort of synth new wave `No More Mr Nice Guy' before it blends into the science-gone-wrong scenario of `Clones (We're All)' (tuning into the early 80s obsession with cloning). Then, in classically sick Cooper fashion (I'm hidden in the scream when the virgin dies ... I'm the burning sensation when the convict fries), the dirgey `Pain' is delivered with impassioned commitment, creating the album's most outstanding song. Pop rockers `Grim Facts', `Nuclear Infected' and `Dance Themselves to Death' are not far behind, being pretty much classic Cooper with a light synth polish. With the exception of the well-intentioned `Aspirin Damage', which is weighed down by a sadly banal pop melody and chorus, the remaining four tacks are ok - and certainly don't rank anywhere near Alice's worst.

It is hard to understand why `Flush the Fashion' gets such bad press. If you want metal, you won't get it here. But if you want good old Alice Cooper sick attitude and humour, it definitely delivers. It is riskier and most definitely far superior to the abominable 'Goes to Hell' and a massive improvement on the balladeering and relative clunkiness of `Lace & Whiskey' and `From the Inside'. Give it a spin - it's fun!
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2 of 2 people found the following review helpful
on 26 November 2007
Originally released in 1980, this was his follow-up to 'From The Inside'. Alice snagged The Car's producer Roy Thomas Baker to help out on this lp. When this record first hit the stores, I remember many fans not being sure just how to take it. 'Flush...' does have some good tunes on it, like the Music Machine's 1966 cover of "Talk Talk", the hit "Clones (We're All)", "Pain", "Aspirin Damage" and the self-inspired "Model Citizen". Saw Alice on the tour to support this new wave-like effort of his. Many fans were disappointed, some were not. It's a far cry from what we would ever expect from good 'ol Uncle Alice. A decent CD reissue, but I'm just glad this was a faze for him.
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2 of 2 people found the following review helpful
on 22 March 2007
alice does gary numan,but looks like marc almond on the back always alice [even on duff cds] alice's produces a few good tracks.pain is great,grim facts and model citizen is fun in the alice mode.headlines is a ok light rocker.overall the cd has a lightweight feel to it
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on 11 May 2015
The first of Alice's, early 1980's, 'lost' quartet of albums. 'Lost', in the sense that his career had lost momentum, the albums lost chart traction - although 'FTF' did provide a US/Canadian/ Australian top 40 hit in the shape of 'Clones' (plus the album went gold in Canada) - and Alice got lost in a haze of booze and drugs. After 'FTF' his chart positions would go into freefall. Despite all that - or maybe because of it! - this record, and the following trio, are all little gems.

'FTF' sees Alice trying out a new image/sound, in order to somehow fit in with one of the prevailing musical movements of the time, namely 'new wave'. So, it's gaunt cheekbones, tied back hair, short, snappy tunes, synths, and a '30 minutes and you're done' record! Gone are:- the lush arrangements of 'Welcome To My Nightmare'; the confessional hell of 'From the Inside'; the ballads, and Bob Ezrin. Instead Alice - and producer Roy Thomas Baker - strip it back and drive it on. Rumour had it that Alice was less than engaged in the making of the album - and on the surface some of it can seem slight, with throwaway (National Enquirer-type) lyrics - but, at root, this is a great little, 'in yer face', record.

It kicks off with a spunky, punky, cover of The Music Machine's 'Talk Talk', which segueways into the brilliant 'Clones', which, had Gary Numan sung it, would have been a massive worldwide hit. Unfortunately, by then, Alice's fan base had become eroded, plus the general public/radio stations had, mainly, lost interest/become confused by his constant chopping and changing of styles - so it wasn't the biggie it should have been. Aptly. 'Pain' follows on; probably the most old-school Alice track here - brilliantly incisive lyrics, plus a tense, taut, tune.

Quirkiness abounds here, as do daft-as-a-brush lyrics - 'Nuclear Infected' is particularly bonkers - but there's also a darker undercurrent at times: 'Grim Facts' and 'Dance Yourself To Death' pick at the very thin veneer of civilisation. The last half of the album really hurtles along - one track tumbling into another - until we reach the final 'Headlines', where Alice espouses the 'any publicity is good publicity' line. Then, that's your lot; all done and dusted in barely half an hour. Phew!

Overall, 'Flush The Fashion' is a really good album. It doesn't scale the 'sturm und drang' heights of the original groups' , Bob Ezrin-produced, quartet of albums, nor embrace the vaudevillian greatness of the early solo records, but then Alice didn't aim for that. He wanted - needed - a change, and this amply fits the bill. It's not the best of the 'lost' albums - 'Special Forces' and 'Dada' take that title - but it is a little gem, a 'lost' gem.

It hasn't been remastered, but sounds fine (indeed all the 'lost' albums do). Well worth buying.
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on 12 November 2010
Wow. This is a bit different from every other Alice album, including the debut and 'heavy rock' era. In a way this embraces the New Wave, elctronic music that was around at the time and Alice does have a very adaptable remit. But it does sound very un-Cooperesque, apart from the great lyrics of course. But this album is more musically similar to rock and roll and even punk, more so even than Lace & Whiskey.

The opener, 'Talk Talk' is fast and hip and poppy but there's not too much of a hook there. It's an ok song but not anything to get excited about. 'Clones' is a great little single and the New Wave influence is seen strongest here. 'Pain' is the most Alice Cooper like song on the album and it is very good, quite sneery and drunken and classy in a grimey kind of way. 'Leather Boots' is quite fun and very quickly over. It's a punk song without the kudos. 'Aspirin Damage' is interesting without being wholly exciting. But a decent toe-tapper nonetheless. The same can be said for 'Nuclear Infected' which is average at best and follows the same formula as 'Aspirin...' 'Grim Facts' is actually one of the best songs on here (and there are only 3 in my opinion!). Its very rock and roll, with a great lazy hook that gets better with every listen. The final 3 tracks are of the same ilk as the other 'ok' tracks.

Not a great effort but it is short and sweet. 'Clones', 'Pain' and 'Grim Facts' are worth it though. Happily this was not an Alice we were going to see for many albums longer.
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1 of 1 people found the following review helpful
on 18 March 2000
Highlights of this album are Talk Talk,We're all Clones,Pain & Model Citizen. This is Alice's take on retro-punk but is quite respectable. Vast improvement on Lace & Whiskey / From The Inside etc - Shows a more earthy Alice approach reminiscent of early Alice.
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on 9 February 2004
The Beatnik was gone and there were no ballads,but that was all the good news.
FTF was no serious attempt to corrupt and deprave another generation nor was it the right on collection of power pop that the Schools Out imagery was suggesting. 27 minutes of neutered rock was what you get.
Compositionally FTF is sound, Grim Facts is "Raped n Freezin" in its basic formula not that Roy Thomas Baker's production allows it to reach the formers greatness. Another survivor is Dance Yourself To Death, a throw back where Alice's parents are junkies.
Recorded and produced largely without Alice FTF was made during a little publicised relapse into alcoholism.
So a real missed opportunity as the post punk era beckoned.
Flush The Fashion, the idea is so much better than the delivery.
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4 of 5 people found the following review helpful
on 11 April 2000
Just the cover of this put me off the record 'Alice Cooper '80'- Flush the fashion. So you get the impression that Alice is trying hard to tell everyone that the music and attitude has changed. Gone are the concepts, theatrics and big productions, and in come the raw, slim, punky short numbers. Unfortunately for Alice, most of his success comes from his great conceptual albums. This album is a complete change to other albums, with only one song -'Pain' showing a glimpse of the former man. Clones is a great song, and other standout tracks include 'Headlines' and 'Grim Facts'. The album is too short to be a classic, but just sharp enough to make a point. A solid effort, but hardly the Cooper we know and love.
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4 of 5 people found the following review helpful
on 23 November 2004
I read the other reviews. Ahem. I really like this. Cheese rock at its best!. There are other Cooper albums to be avoided more than this. If you are a fan and have an open mind. Then get this. Give it time. It grows on you, an if you get it cheap, its worth Grim Facts an a few others on its own. A lot of Coopers later stuff is hit or miss, I think, but this is more hit.(A first 7 albums fan here, an half of the rest!)
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