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4.6 out of 5 stars
4.6 out of 5 stars
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on 30 March 2008
This has got to be Alice at his most meanest!! not to mention his best! Alice invites us to a blood soaked nightmare in which he decapitates brides kills prostitutes! Every brutal indulgance its all here! over the top guitars by the best Alice cooper guitarist- Kane roberts. crashing drums, ferocious bass And even backing vocals from a certain Freddy Kruegar!!! This is one mean album! one of the best heavy metal albums of all time!
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on 22 March 2007
at last alice rocks after 10 years in wilderness .a billion dollar feel to the whole cd not a bad track. heavy but catchy pop rock songs with nasty lyrics about murder ,death,you know the old alice.welcome back.
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on 25 January 2011
Raise Your Fist and Yell, which was released in 1987, was Alice Cooper's second album since his return from rehab. This album see's the lyrical content make a welcome return to fertile sinister and sinful territory - where Alice Cooper is at his best. Alice coopers love of Horror films comes to the fore in this L.P. The lead single off the album, Freedom, is a stellar, full on rocker which emphasizes the immense contribution Kane Roberts brought to the proceedings - a Ramboesque Guitar virtuoso.

The album kicks into it's sinister best about half way through, with Prince of Darkness - Ozzy Osbourne eat your heart out! The centre piece of the album is the infamous murderous trio - Chop, Chop, Chop, Gail and Roses on White Lace. Chop, Chop, Chop is about a killer roaming the streets for his next victim, and he finds it: 'She had a black leather skirt, That was tight to her hips And an anklet with a name, It spelled M A R Y..... Gail!'

Gail describes the aftermath, when Alice has done away with her. This song sets a epically creepy atmosphere that's Akin To Former Lee Warmer off of Alice's 1983 album DaDa.

The closing song, Roses on White Lace, is a honeymoon from hell: 'In my own way I lovingly kiss the bride, with your ring in your hand, your eyes and your mouth open wide.'

This album is Alice's finest 80s record, being heavier (and darker lyrically) than Constrictor and the commercially successful Trash. What helps makes this album stand out from his other Glam Metal outings in the 80s are the darker lyrical content and the great guitar work by Kane Roberts - who even helped liven up the weaker songs on the album; Step on You and Not That Kind of Love. This record helped cement Alice Cooper's return to music, with Alice putting his on twist on a Glam Metal sound - with great results.
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on 30 November 2002
Alice's penchant for producing albums in pairs is evident with this offering which continues the themes of violence and rebellion found on 'Constrictor'. Alice stuck with the services of Kane Roberts and Kip Winger resulting in a similar heavy metal sound. Even the artwork is similar.
Just as 'Constrictor' had 'He's Back (The Man Behind the Mask)', the theme to 'Friday the 13th Part VI', 'Raise Your Fist' has 'The Prince of Darkness' which was used as the closing theme to John Carpenter's horror flick of the same name. Alice, incidentally, appears in the film as a deranged tramp.
The only single was 'Freedom' which was a minor hit in the U.K. and is probably the best track on the album. Other notable tracks are 'Lock Me Up', 'Give the Radio Back' and the somewhat disturbing ballad 'Gail'.
After the disappointment of Alice's early 80's work, this album continues the Coop's return to form which started with 'Constrictor' and is completed with his next album 'Trash'.
Whilst by no means in the class of his early 70's material, this is nevertheless a worthwhile addition to the collection of anyone with more than a passing interest in Alice.
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on 27 June 2003
I'd only vaguely heard of Alice Cooper before this album. I bought it and it was great! Very heavy but tuneful. Fantastic guitars and thick bass. Alice's voice snarls at you, and the whole production is expertly done.
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on 2 August 2016
This for me as a life long Alice fan has to be the most influential album in my life...
1986 saw the come back album Constrictor which I quickly purchased on cassette as soon as it was released when I was 16.
This blew my socks off but a year later when RYFAY arrived I was introduced to the wonder of having ones face melted by a relentless barrage of heavy metal music so savage in it's content of both lyrics and musicianship that it almost felt unlawful everytime I put needle to vinyl!
Right from the opening track Freedom you are treated to thundering rhythm and crunching guitar from Ken K Mary and Kane "Rambo" Roberts.
Then Alice starts snarling down the mic with such bitterness and hatred in his voice that you could almost believe that he really is this scary, twisted horror creation and not a golf loving personal friend of Bob Hope & Sammy Davis Jnr!
"If you don't like it you can lock me up" brilliant!!!
This album came out at a time when films such as Nightmare on Elm Street were scaring the living s#%t out of everyone so this just fitted perfectly with it's dark, blood curdling theme.
My personal favourites are Freedom, Lock me up, Prince of Darkness and Gail/Roses on White Lace.
I was so lucky to see AC at the 1987 Reading Rock Festival (When it was Rock) and have cherished those memories for nearly 30 years now but remember being gutted that none of the RYFAY songs were played because it was a continuation from his world tour of Constrictor.
If there was ever a good quality live album of this developed I would buy it immediately but there isn't..... just poor quality bootlegs are all I've seen in 30 years of looking.
I have played this album so many times I know every lyric, solo, sound effect etc and it still remains the album I will take with me to the apt! Buy it.
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on 18 November 2010
Another over-pomped extravaganza in Alice Cooper's 80s canon. Sticking to the template of the previous, Constrictor, album, Raise Your Fist is however slightly darker and has few 'fun' tracks like 'The Great American Success Story' or 'Thrill My Gorilla'. But it is still a great album and a classic of sorts, although musically it is rather middle of the road.

'Freedom' starts it all off in true anthemic style. It is one of the best tracks and does a similar job as 'Teenage Frankenstein'. 'Lock Me Up', 'Give The Radio Back' and 'Step On You' are all relatively similar insomuch as they are all radio-friendly toe-tappers with a dark streak. The lyrics, as usual, are uniquely Alice. 'Not That Kind of Love' is great. It's fun and catchy and very cool - despite it being not actually very cool now...

'Prince of Darkness' is a brilliantly dark track that takes a while to season but is one of the best additions to the album. 'Time To Kill' is a near-classic. Again it's very dark, as most of the second half is, but has a great driving chorus and begins a thin concept that continues through to the end of the album. 'Chop, Chop, Chop' is ok but really only half a song and half a segway. It's still pretty catchy and dirty and dark though. 'Gail' leaks in through the previous track's licks. It is organ-driven with a power-ballad crescendo towards the end that stops so abruptly that the succceding 'Roses on White Lace' almost makes you jump when the power chords erupt at their frantic pace. They are both classics.

Not one of his most favoured but one of my favourites. After this Bon-Jovi-rock beckoned, which was successful to a degree - definitely from a sales point of view; less so critically. But then this and Constrictor weren't actually musical masterpieces either. They were just another couple of excellent albums from a living legend.
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on 2 March 2010
According to a journalist in Kerrang!, Alice was going to call this album Shriek of the Mutilated. A much better title than the one he chose but perhaps too cryptic for the audience Alice was aiming at here. This was Alice embracing heavy metal with a vengeance! After all those hit ballads in the seventies and esoteric eccentricity of the eighties, Alice had relaunched his career with the so-so Constrictor in 1986 and this was the new, improved follow up in '87.
Working again with Kane Roberts, his body building lead guitarist, looking like he's stepped straight out of a Sly Stallone movie, Cooper cranked the volume all the way up to 11 ably assisted by Michael Wagener's production and threw subtlety out of the window. The first half of the album had wannabe anthems like Freedom (minor hit single), Lock Me Up and Give the Radio Back. The second half was conceptual with Alice returning to familiar themes i.e a serial killer who sees blood drops as roses and calls all his victims Gail. The second half is the more interesting with Prince of Darkness being a classic heavy metal sound, big riffs, great lyrics and no time wasting. Chop, Chop, Chop and Time to Kill are deliciously bad taste and rock at a whirlwind pace before Gail breezes in on a harpsichord style keyboard more reminiscent of the Alice of Welcome to my Nightmare.
All in all this album helped re-establish Alice with a hard rock audience after years of confusion and dwindling sales. It may not have the songs of Killer or Billion Dollar Babies or even in my opinion Brutal Planet, but it sounds great with the volume cranked up and provided the centrepiece of the inevitable subsequent stageshow.
Ultimately this paved the way for the multi-million selling Trash which was next up for the Coop...but thats another story.
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on 21 April 2010
Thankfully shedding some of that dire 80s commercialism, Alice Cooper's nightmare (almost) returned with some style for this effort, in spite of it's obvious title and dreadful album art! This is possibly the most satisfying of all his 80s output, which kicks off in double-whammy foot-stomping style with the anthemic Freedom and Lock Me Up (complete with Robert 'Freddy' Englund cameo, kudos!). It's mid section lull barely detracts when the latter half of the album roars along. It has a genuinely malign feel, with the menacing Prince of Darkness, Gail and Roses On White Lace all standouts. It's none-too-subtle, a bit daft, but edgier and more well-rounded than its commercially conscious predecessor. It comes across like an 80s horror flick; trashy, slick and fun. This is one relic worth digging up, though not quite essential Alice.
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on 24 August 2013
This is quite simply Alice Cooper at his very best. Excellent catchy rock, with the usual horrormovie lyrics. Love it or hate it. I choose to love it. If you like rock at all, you quite simply have to have this album. End of discussion.
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