Learn more Shop now Shop now Shop now Shop now Shop now Shop now Shop now Learn More Shop now Shop now Learn more Shop Fire Shop Kindle Kesha Learn more Fitbit

Customer reviews

4.5 out of 5 stars
4.5 out of 5 stars
Format: Audio CD|Change
Price:£5.39+ Free shipping with Amazon Prime

There was a problem filtering reviews right now. Please try again later.

on 3 February 2017
This item is very good as long as you like Alice Cooper
11 Comment|Was this review helpful to you?YesNoReport abuse
on 26 February 2017
I like Alice Cooper so this is a good keyring for me
0Comment|Was this review helpful to you?YesNoReport abuse
on 3 March 2017
0Comment|Was this review helpful to you?YesNoReport abuse
on 16 November 2015
Excellent product arrived quickly
0Comment|Was this review helpful to you?YesNoReport abuse
on 14 October 2016
all good condition as expected
0Comment|Was this review helpful to you?YesNoReport abuse
on 8 May 2014
No doubt there are many who are going to disagree, but I have always thought this to be the weakest of the original Alice Cooper groups offerings. And no doubt like many I rushed out to buy it (vinyl) due to both the single and the fact that I had the previous releases, especially the classic 'Killer'. It even involved a detention as I'd bunked off school early on day of release! The only compensation being those limited edition paper nickers. Oh, the folly of youth? I've often heard this album referred to as a concept album but have never really understood why. I've always felt that many of the pioneers of the early 70's hard-rock, metal etc simply tried to be too clever. A bit of controversy now - I've always blamed the Beatles and 'Sargeant Pepper' for this! None of this stopped me buying this CD though which is a bit of a contradiction. The only track that gets played now is 'Public Animal No.9' and if I'm feeling really brave 'Schools Out' itself merely for nostalgic purposes. Luckily things improved again dramatically with 'Billion Dollar Babies'. If you're about to delve into Alice Cooper for the first time then this is probably not the best place to start. Neither for that matter is anything after 'Welcome To My Nightmare' until 'Brutal Planet'. Its cost me a lot of money to find that out!
0Comment|Was this review helpful to you?YesNoReport abuse
on 6 June 2001
This album ranks among Alices best. The title track is brilliant and totally timeless. The whole school concept works really well including the bits from west side story. Blue Turk works really well with that sleazy sax sound but the highlight for me is My Stars.... What a brilliant track one of his best ever from the piano intro to the fast rock guitar solo's and agressive singing to the lines taken from 'day the earth stood still' this track is just awesome. Why has he not performed it live since the billion dollar babies tour... oh well that's life and this excellent album gets five stars
11 Comment| 18 people found this helpful. Was this review helpful to you?YesNoReport abuse
on 3 March 2011
0Comment| 7 people found this helpful. Was this review helpful to you?YesNoReport abuse
on 4 July 2003
As fresh and original as it was thirty years ago when it came wading through all that Progressive nonsense. Like the Pistols, the Alice persona which preceded the record was a bit scary, but the actual music and indeed musicianship (of both groups) came as a pleasant surprise. In common with other reviewers here I'd point to My Stars, Alma Mater and Public Animal as particularly inventive. They also contain that sentimentality typical of Cooper which was strangely incongruous with the leopardskin mayhem of his live act.
School's Out never gets dull. I regard it as a pair with Billion Dollar Babies, so if you like this, you know what to do next!
0Comment| 7 people found this helpful. Was this review helpful to you?YesNoReport abuse
TOP 500 REVIEWERon 7 June 2012
Of course, for those of us who have been listening to Alice Cooper's classic early 1970s albums (the ultimate masterpiece Killer, the slightly lesser School's Out and again the slightly lesser Love It To Death and Billion Dollar Babies) for 40 years(!), it comes as no surprise to realise that Vincent Furnier and associates have in their time written some majestic and (perhaps unexpectedly) sophisticated songs. Those contained on Alice's 1972 album School's Out are a case in point. Best known (of course) for the hit single title song, this is something of a concept album (with a running theme of teen/school-age rebellion) and contains a brilliant mix of large-scale (almost stage musical dimension) songs and more intimate, lyrical songs.

Along with Alice and his band (Michael Bruce - guitar, Glen Buxton - guitar, Dennis Dunaway - bass, Neal Smith - drums, I list them merely to ensure they receive due recognition) much of the credit for this (and other Cooper) albums must go to producer Bob Ezrin. For me, Ezrin easily reached his creative peak (if indeed producers reach such things), with these four early 1970s Cooper albums. On School's Out, the production values are stunning. Cooper, Ezrin and Co. make spectacular use of full orchestral and (at times) big-band jazz arrangements on the West Side Story-inspired songs Gutter Cats vs The Jets (a satirical take on the musical's gang warfare) and Grand Finale (both songs lifting some of Leonard Bernstein's musical themes). Similarly, the seminal album title song and the Cooper/Ezrin composition My Stars continue with the large-scale sound arrangements.

But, for me, the album reaches its creative peak on the remaining four songs, each song in its own way something of a minor masterpiece. First-off, probably the two most atypical songs on the album, Alma Mater - a heartfelt, and beautifully melodic, ballad on which Alice sings about his character's final days at school before breaking up for the holidays - and Public Animal Number 9 - a raucous and anarchic celebration of school rebellion, 'She wanted an Einstein but she got a Frankenstein'. These two songs are atypical of the album because they are both relatively conventional in terms of song construction. The remaining two songs are quite simply superb and either would be worthy of a place in a 'Bernstein rock opera' (perish the thought!). Luney Tune and Blue Turk are both filled with mind-boggling levels of invention (not quite up to Halo Of Flies standard, but close) - whether this be Dennis Dunaway's superb throbbing bass lines, Glen Buxton's incredible caterwauling guitar (it really does sound like a cat wailing), Alice's by turns snarling and crooning vocals, Neal Smith's dextrous and rhythmic handling of his kit or the stunning backing arrangements (by turns, luscious strings or full-on brass backing). It rarely gets any better than this.

I've been listening to this record on and off for forty years - but a few recent playings have got me discovering more and more hidden depths to its brilliance, thus prompting this review.
33 Comments| 8 people found this helpful. Was this review helpful to you?YesNoReport abuse

Need customer service? Click here

Sponsored Links

  (What is this?)